Author Archives: Bob Evans

Sunday Night Movie: Seconds

The third in director’s John Frankenheimer’s paranoia trilogy, the previous two films being The Manchurian Candidate and Seven Days in May, Seconds turns the attention from external threats to questions of identity and conformity.

The main character of the story is Arthur Hamilton an upper middle-aged man, white, Protestant, wealthy, and entirely dissatisfied with his life. Mysterious communication from a ‘deceased’ friend leads him to a company that services men as himself, creating for them new identities, new lives, in younger, stronger bodies. Arthur undergoes the processes and is reborn as Tony Wilson, now played by leading man actor Rock Hudson. Arthur, living as Tony, is relocated to California and given a life that is designed to fulfill those emotional voids from his previous ones, but they do not. Despite a reignited sexual drive and capacity, a young exciting woman professing her love, and absolute freedom, Arthur/tony remains deeply unhappy. Questioning his choices and seeking solutions puts Arthur/Tony on a disastrous course that he may never recovery from.

There is no doubt that Seconds is a science-fiction story without the intense and complex procedure to take an old man and transform him into a young one the story simply falls apart. The movie is tough, brutal, and disturbing. By brutal I do not a bloody festival of violence, but rather that the handling of the characters and their issues are not softened by sentimentality. Arthur Hamilton is not a particularly likeable man and his transformation does not change this aspect but his journey is intellectually challenging and emotionally wringing which I found compelling and fascinating. The philosophical questions raised, by the film and left unanswered I might add, concerning the conflict between the individual and what society expects of an individual, are deep and powerful. This is an SF movies with a point, it is not a pretty film, it is not a feel good film, and it is not an adventure film, but it is an adult film with adult problems and an adult resolution, Filmed with techniques that were terribly difficult before the advent of SteadyCam, and with distorting lenses, Seconds can be difficult to watch and perhaps even physically uncomfortable for those susceptible to motion sickness.

This was the first time I watched Seconds and with the benefit of historical knowledge Rock Hudson’s performance takes on greater depth, meaning, and nuance, In 1966 Rock Hudson was at the top of his game as a leading man in Hollywood. Young, tall, and handsome he played vigorous, virtuous, and virile men that reflected back to America and the world the illusion of the man that men should strive to be and he did this while living a deeply closeted life. Normally I do not consider an actor personal life or orientation when watching their performance but in this case I think it transforms the acting into a sublime achievement. Taking on the role of ‘Tony Wilson’ Hudson plays a man who is hiding his core identity, who is living a lie, Hudson gives a performance that is layered with its own hidden truth. Frankenheimer wisely doesn’t spoil the subtlety of the Hudson’s acting with cheap close-up of things like a single tear, but lets many of the scenes play out in uncomfortable long takes

Produced when science-fiction cinema was truly becoming an adult art form Seconds is about as far from escapism as a move can get. It is a story unconcerned with heroic gestures, preening villains, or simplistic clashes of good and evil but rather it attempt to plumb the depth of the human soul and what it finds is deeply unsettling. It is a classic film from a master filmmaker, but by far it is not for everyone.

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It’s Getting Uglier

The events last night and this morning in Virginia are terrible signs of the dark evil current running in our culture.

Yes, I said evil.

If while marching by torchlight you wave Nazi flag, give the Nazi salute, shout racist and anti-Semitic epithets, and proclaim Nazi slogans ‘Blood and Soil’, then you are a flippin’ Nazi and you are evil.

That these people are shouting praises top Trump should give ever single member of the GOP serious pause. These are the evil men you have wedded your movement to in order to secure political power. Do you remember when the GOP proudly stood as the ‘moral’ party? What morality are you defending today? What virtue?

The ends do not justify the means.

When the Republicans embraced torture I foreswore all association with that party. You cannot do evil to achieve good and sadly in the dozen years that have passed they have only gotten worse.

I agreed with President Reagan when he named the Soviet Union an ‘evil empire.’ That was categorically true, and now the GOP are becoming their enemies. Not the Democratic Party, and not liberalism, those are not the enemy of Conservatism, the toxic, deadly, and evil ideology of ethno-nationalism, racism, and authoritarianism are the enemies of the Enlightenment, the enemies of true western civilizations. Not that forgery that is nothing more than naked racism behind a modern mask of ‘alt-right.’

This is not about spending bills, and this program or that program; this is a fight for our cultural soul.

Will be you proud of your party, of your movement, of your personal stand?

 

(There are reports that a car, perhaps intentionally, has plowed into a packed crowd protesting our American Nazis. If it was an attack, and one should always wait and watch as early reports are terrible in the reliability, it will not be the last. Overseas we have seen repeated use of cars and truck as weapons are cars are far easier to obtain than firearms. Once the spectacular coverage begins the technique spreads.)

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The Artist’s Most Important Trait

In a post some time ago I argue that the most important skill a writer could master was finishing. An uncompleted project moves no readers and sells no copies. Today I’m going to talk about the trait all artist’s should prize above others. That trait is not inspiration, creativity, or being a keen judge of human nature.

Above all else an artist needs to be honest.

Now, I do not mean that you tell cruel truths to people at parties. I do not mean that you argue and try to dominate all who disagree with you. There are light-years between honest and asshole.

What I mean is you must not self-censure. You must not silence the voice in your art. That is you voice and it is literally the only thing that separates you from everyone else in the art. Your viewpoint, your take on the world is the point of your art, it is your art. When you self-censor you decapitate your art turning it into nothing more that talented copying. It becomes a self forgery.

Always listen to your inner voice. Always know what it is you what to say and always, always say it.

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In Praise of the Long Take

The long continuous take has been with cinema since the very beginning. In fact one could argue that cinema started with the long take since editing movie into separate takes was a development that came along after the invention of the medium. However it is the existence of the edited narrative film that gives the long continuous take it’s meaning and it power.

Alfred Hitchcock composed an entire film, Rope, in nothing but long unbroken takes. Moving the massive refrigerator sized color camera around the set in a detail dance allowing him to craft long shot, medium shots, and close-ups without cutting at all. Rope is not remembered as part of the director best films but I like it and it was an example of an artist experimenting with his craft.

In 1958 Orson Well used the technique to establish the setting and tension for his noir Touch of Evil. Following a bomb from the moment it is planted in a car through several minuets as the car moves about the town this continuous take is one of the films’ most famous.

With the advent of the steady-com the long take took on a new life as now filmmakers were freed from bulky dollies and massive cranes and able to follow their subjects though a living set. Two examples that leap to my mind; first the ferry sequence in Spielberg’s Jaws where the city council comes to prevent Brody from closing the beaches, and follow Henry Hill and his date into the club in Scorsese’s Goodfellas.

A close relative to the long continuous take is the sequence where two of more shots are editing together to create the impression of a single take. Joss Whedon uses this technique in 2005s Serenity to take the audience through the entire ship during the films opening scenes, reminiscent of Touch of Evil‘s use in scene setting. Daredevil season one presented the ‘hallway’ fight in a single take, allowing the audience a chance to experience the combat’s fatigue.

A film currently playing uses the effect masterfully and that is David Leitch’s Atomic Blonde. Without going into spoiler territory I want to discuss the long take in this movie. Like Daredevil Atomic Blonde uses the long take during a particularly grueling and brutal fight sequence. Starting in a stairwell the fight ranges through a number of rooms, several floors, and even incorporates a car chase in the single shot. (Though of course this is an example of several shots seamlessly blended to the appearance of a single take.) Again, this help the audience experience the bodily toll the combat takes on all the characters but I believe that the long take severed another purpose beyond that physical empathy,

A cut in film can act as a release, an escape. We understand from a life time of movie watching that a cut means we are leaving the current moment, the current point of view for another and if that previous moment was unpleasant then cut allows us to distance ourselves from that unpleasantness. (Paragraphs and scenes breaks can do the same thing in prose.) I said that the ‘stairwell fight’ was grueling and brutal, those aspects are heightened by the lack of cuts. We are never allowed to escape the life and death fight, like the characters we are following, we are never given a chance to escape. The length of the take takes us from observers to unwilling participants. When the sequence finally ends the audience utterly empathizes with the surviving characters. It is masterful filmmaking and that bit alone is worth the price of ticket.

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A General Bob Update

Sorry that there was no blog update yesterday but Tuesday turned out to be an interesting day. For several days I have been experiencing a decidedly odd symptomology. Sporadically I would have the strong sensation of smoke in the back of my throat, as though I had been in a club full of tobacco users and coughing nearly always followed the smoke sensation. It was worrisome and I decided to make an appointment with my primary care doctor. That appointment was yesterday.

The x-rays showed that I have the early stages of walking pneumonia, a small section in one lung on the frontal lobe. The doctor has prescribed two antibiotics to run over the next ten days so recovery should be completed and rapid.

By the time I got home yesterday from work – because the doctor had not ordered bed-rest — I was pretty ragged and as the evening wore on that only got worse. I decided that it would be best to take a couple of days off and spend as much time as possible resting. So that’s where I am today, home, coughing, and taking drug. (Not the fun kind those have never been a part of my general lifestyle, but you like it knock yourself out.)

I shall endeavor to continue working on my novel but we’ll see how well that works out.

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Sunday Night Movie: Cleopatra Jones

Last night’s feature, Cleopatra Jones, was the third, following Black Caesar and Blacula, in my experiencing the genre of Blaxploitation cinema. It was interesting watching this movie on the same day that I went out with my sweetie-wife and watched Atomic Blonde. Though separated by four decades the two films have very similar elements. Both films are centered on strong females characters who are agents for their government, dress in fantastic fashion, who are sexually liberated, deadly in combat, and who operate in a venue where ally and enemy are deadly categories to confuse.

Cleo (Tamara Dobson) is a United States Special agent whose jurisdiction extends from Ankara to Watts Towers as she tried to shut down the drug trade poising the youth of Los Angeles during the early 1970s. After destroying a poppy field worth 30 million dollars, Cleo angers the L.A. Crime lord, Mama (Shelly Winters) and Mama declares an all out war on Cleo. Manipulating her contacts with the police department Mama fixes it so that a facility dedicated to getting kids off the hard drugs is raided and incriminating evidence (planted) is found, provoking Cleo’s return to L.A. The film follows Cleo’s attempts to clear the anti-drug house, keep the residents from exploding into violence against the racist, oppressive police, and ending Mama’s criminal empire.

Cleopatra Jones was a fun film that wasted very little in terms of time or momentum. There are a number of film makers that need to learn these filmmakers lesson in economy of storytelling. With stronger elements of wish fulfillment that either of the other two film I have watched, Jones, fulfills one of the purposes of fiction, displaying for people a world that can be better, a world that can be made into reality, even while dealing with the subject matter in a never-lose James Bond method.

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Movie Review: Atomic Blonde

I had a middling interesting in seeing Atomic Blonde, this cast looked good but the subject matter is one of those that is so very often handled poorly producing product that leaves one flat and unengaged. Last week while my sweetie-wife and I were catching on a backlog of the Daily Show we caught the star Charlize Theron promoting the show and my sweetie-wife indicated she was now interested in catching the movie in the theater. I am very glad that we did.

Atomic Blonde is a period piece set in the chaotic days just before the fall of the Berlin Wall. Theron plays Lorraine an MI6 agent sent into communist East Berlin to retrieve an highly valuable mcguffin. (A listing of soviet agents, their covers, and mission.) Other agents have already been murdered for this list and things only get worse once Theron’s character arrive on station.

As with all the best cold war spy movies this one is drenched in cynicism, betrayal, and ambiguity. Atomic Blonde, like Dunkirk, is a plot driven movie, albeit with stronger characterization that Nolan’s WWI survival film. The closest parallel is the James Bond franchise. However unlike the unstoppable god-agent Bond, Lorraine flees from fights she is losing, suffers disastrous reversals, and isn’t armed with an array of impossible super-gadgets. (In fact all the spy-craft tech appears period and credible.) The fight sequences are fight, credible, and brutal. If you have heard reviews you may have already hear people singing the praised of the ‘Stairwell’ fight. It is very impressive, topping the ‘Corridor’ fight from season on of Netflix’s Daredevil. The director, David Leitch, also resisted the temptation of over processed, digital stunts, lending the stunts and fights a visceral realistic feel. If you came of age in the 80’s the soundtrack is going hit you like a pissed of Lorraine. It is an impressive collection of thematically on-point period songs besting the collections used in other recent movies such as Guardians of the Galaxy I & II, or The Martian. (In fact I am listening to the soundtrack as I write this review.)

Stylish, properly cynical, brutal, and sexy, Atomic Blonde a James Bond franchise for the 21st century.

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Details Matter

Last weekends I went with a friend to see the movie Dunkirk. It was his first time seeing the film and my second. (it worked on a second viewing all well as the first.) After the screening as we walked out the theater he pointed to the lobby display and spoke about the rifles carried by the UK and French forces. If I recall what he said correctly the British carried rifles that were made for WWI but that they really weren’t that common in the army by the time of the evacuation and that in the film the French carried newer rifles but in reality they had been equipped with an older model. I theorized that perhaps the director selected these long guns for their distinctive shapes and while they were period correct he went ahead and let them appear in period incorrect numbers.

This has gotten me thinking about accuracy in historical films.

The issue of accuracy in historically set stories is far larger than a single blog post. Hell if you want to dive into the weeds watch the YouTube channel History Buffs which is dedicated to reviewing historical films from an accuracy perspective. What I did think about is how often the details that matter to us are the ones that touch on the subjects and aspects that engage us.

Someone with an interest in fashion will noticed that the character reaching in a pocket shouldn’t be able to because pockets hadn’t been developed yet.

That the battle of Sterling Bridge really should have a bridge will annoy some but not others.

That the destroyers seen at Pearl harbor are ships that will not be built until decades after the war.

That the yellow noses of the German fighters didn’t start until years after the evacuation of Dunkirk.

That the vast sea of white faces on the beach of Dunkirk really should have had more color.

What’s fascinating is that sure if you have an interest in one subject sure you’ll notice the errors there, after all it is your thing but so often the other errors a person will wave aside. That shouldn’t be.

Really, even if you enjoyed Braveheart, and its a thrilling film, or if you are moved by the madness of Amadeus, one should be aware of how they lie about history. If they lie about an area that isn’t your special interest, you should still care.

Accuracy matters, details matters. It is better to get it right and the best case is where art and history are in sync but know when they are not.

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Quick Impressions

I took a day off from work yesterday staying home and giving my knees a chance to recover. While I was home I watched the French Language movie Elle. It is a controversial movie from Paul Verhoeven about a business-woman who is attacked and raped in her home by a masked assailant. The title character is cold, hard and keep peoples at a distance, making it hard for the audience to sympathize with her situation. I’ll admit that I lost most of my connection to her when at one point in the movie she has a car accident on a wooded road. She calls her best friend, voicemail; she calls her best friends husband with whom she is having an affair more voicemail; then she calls her rapist. (By this point in the film is has discovered his identity.) Not calling emergency services and calling her attacker simply broke the film for me.

 

We appear to be getting a bit of order in the White House. I do not think it will last. The saying goes that a leopard can’t change his spots and Trump thrives on chaos, it will return. Where the Russian thing I have no idea but once a special counsel has been empowered, as it has, there’s no telling where you will end up. I think this is far from over.

 

It’s really humid here in San Diego. It’s like mother nature is prepping me for the vacation to Florida later this month. When I climbed out of my air-conditioned car at work this morning I truly regretted not getting the anti-fog coating for my eye glasses, that said I am still looking forward to the trip.

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Classic Movie Review: The Creature Walks Among Us

Sunday night I was in the mood from something from the classic period of SF monster movies but also for a movie that I have not seen a dozen times. Years back I purchased the Legacy Collections of the Universal Horror movies including The Creature From the Black Lagoon. Creature did not spawn as many sequels as either Frankenstein or Dracula with just two follow-up films, Revenge of the Creature and Sunday’s movie The Creature Walks Among Us.

This franchise demonstrates the usual cycle of a hit film and it’s usually poorly thought-out sequels. Creature is a well-made film with a fairly sharp script, interesting characters, and wholly contained story of a small expedition trapped and in a battle for their lives against a strange and unknown creature. With excellent 3-D effects and the truly new monster from universal in some time the original was a smash hit. Of course a sequel had to be made. For the second movie they pretty much repeated the first except instead of having a cast that was trapped with the monster is a lost lagoon now the creature, transported to an ocean themed park in Florida is ravaging in humanity’s world. However the core elements are repeats from the original film; a scientifically oriented female lead that the creature is drawn to, pseudo-science in ‘studying’ the creature, and a climax of rescuing the girl from the amorous monster. Having repeated themselves in the second film the third simply ignore the core elements and tried to tell a wholly new story and graft onto it the gill-man from the first two movies.

The Creature Walks Among Us divides into three sub-stories hunting and capturing the creature in the swamps of Florida. In his capture the creature is badly burned and the scientists use surgery to change the gill-man into a land creature. The middle of the movie is taken up with melodrama about the expedition leader, his crumbling marriage, and dreary debates about Nature versus Nurture, this is meant as the thematic heart of the film and that are interesting ideas here but they are not answers to questions raised by the earlier movies. the final sub-story takes place at the ranch where they are going to study the creature. The melodrama’s sexual tensions boil over, a man is murdered, and the murders big plan is to frame the creature for the killing. Apparently the creature didn’t like the idea of taking the fall and goes on a rampage against the real murdered and then escapes. The movie ends with the creature returning to the sea, unaware that he will now drown.

Deviating wildly from the original themes and premises killed the franchise but the Creature movies captures the challenges and dangers of a series of stories. Keep too close to the first rendition and all you produce is a less original copy, (for example Terminator 2: Judgment Day) ignore those elements and you end up with a film that satisfies no one as it is unlike what fans of the franchise want and is unable to attract a new audience. Universal would be wise to pay heed to its own history as it attempts to re-booth this series.

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