Komatsu and Oyama Remembered

Komatsu in 'Chibideka Mongatrai'

Obviously, I have not written here in some time.

I decided to say nothing here, as I was doubtful my endless rants of the obvious failings of the previous  president were of any use. Thankfully, I learned by the 2020 elections end, that our democracy was preserved by about 8 million voters. Thin margin perhaps but enough to alter the grim path we were on Yet, I also learned that where I live I am politically outnumbered about 4 to 1 - about the same amount I have experienced in the years and years I have lived here ... and yet i remain.

Call me Odd Man Out. And no, I have never been comfortable with this particular reality. So I write what I can seldom say.

And after perusing other options of the online world, those many thousands and thousands of platforms and apps  world gurgles and burbles its way through to self-expression - this humble and loveable blog is the best place to share. Here, I am the only one, I can speak freely.

I can ponder through words the thoughts wandering about my old mind (I'm 60 - time left is ticking past loudly.

I continue to marvel at the presence and uses the world has made of the internet - fascinated by the swipe-left-or-right narrative so many engage in, the willingness to answer any question posed by some Facebook data miner, speeding through miniaturized experience. People of all ages and sexes make money online opening boxes and packages to reveal what's inside, or how to apply make-up, or repair a car or a washing machine, or being creative with music and art, or even just jerking off live on camera for tip money. In my day, one had to go to a big city and find a peep show to do that.

Anyway.

I was eating lunch (eel sushi and thai yellow curry chicken) in a small Asian restaurant and I put my phone away since it had little battery power left. I realized I did not even have a book in my car I could have brought in with me - it made me feel ashamed. 

I work with folks in their 20s and 30s and have noticed whenever there is a pause in work or just conversation, 8 seconds will go past and their heads will bend down to their phones, fingering away swiping up and down and left and right. 

So now I have two books in my car. 

I'm no Luddite.

I was pondering movies I could watch online (how I spend most of my time online) and something reminded me of the first foreign language film I saw. I was 7 or maybe 8, and on Saturday mornings I eagerly waited for the CBS Children's Film Festival program to air. I was quite delighted to be able to type CBS Children's Film Festival into the magic google machine - and there it was listed, along with all the films they showed during their very long run. 

It was a Japanese film made in 1958 called "Skinny and Fatty", or originally "Chibideka Monogatari". It's a very simple story of two young boys in elementary school who become friends. Once I recalled seeing it - images and scenes filled my head. The story follows them through their school days and lives at home. They become friends, the smaller sized boy, Komatsu, lives in a very small one-room house and the heavier boy, Oyama. lives in a large two-story home. Komatsu's mother works in a quarry all day, his father works out of town, seldom home. Oyama's mom stays at home, dad is home every night. The boys get bullied, but don't give in. Komatsu always tells his new friend to never give up, to try to achieve, to have confidence.

All I could find of the 45 minute movie was a horribly washed-out print on YouTube, and watched it anyway. I remembered how much that movie impacted me - it wasn't about adults or the goofy kids in America I saw on TV. Their lives are ordinary and still, powerful. It was one of several young experiences that made me want to write, to tell stories, to make movies and plays. There is almost a manga-quality to the movie, it's steeped in late 50s Japanese culture, and likely helped lay a foundation for an appreciation of their styles of storytelling. 

And that's what I decided to write about today. 

The John Wick of the Ocean

There are some pretty amazing stories and movies of maritime adventure, and vengeful aquatic creatures, but when Dino de Laurentis released his version of a vengeful whale, the result was truly unique. Imagine blending the retribution of "Death Wish" and Moby Dick.

I watched "Orca" (1977) again recently, I realized how special the movie really was.

The scruffy Richard Harris plays a fisherman who angers and incurs the wrath of the deadliest killer whale - a whale whose anger has no bounds. As others have noted, once the vendetta against Harris begins after Harris inadvertently kills a pregnant wale wife, then pretty much everyone Harris knows or talks do gets killed.

Before the movie ends,this Orca Assassin has wiped out Harris' entire town. This whale is more dangerous and more angry than John Wick.

Revenge is a dish best served cold and wet.

A User Review on IMDB masterfully lays out the film:

The dramatic fight between Captain Nolan and the whale could have easily become silly, but it doesn't. The Arctic Circle is accurately represented as a cold place with many iceberg, some of which whales can thwack themselves upon catapulting middle-aged Irishmen forty feet in the air. Keep in mind, also, this was done without the use of computer graphics. Steven Spielberg did not even put the shark in Jaws until over halfway through the film. Why? To hide a machine so fake that I can only assume one of his children made it at camp. The mechanical killer whale in Orca is almost indistinguishable from the stock footage of killer whales continually played throughout the movie.

In 1977, how many directors were brave enough to shoot a killer whale jumping from one side of the boat, eating actor Robert Carradine, and landing on the other side? Just one, Michael Anderson. His bold choices along with screenwriters Luciano Vincenzoni and Sergio Donati (who both show an above average command of the English languages for native-born Italian speakers) make the film a statement not only about whale hunting and whale forgiveness seeking, but also about humanity. Charlotte Rampling's appeal to Nolan not to go fight the whale just because the whale wants revenge is not just about social protocols of how to make it up to the father of a whale baby you accidentally killed, but also an argument against the death penalty. Will Sampson's pointless death is an indictment of the senseless slaughter of tens of millions of Native Americans. When the whale knocks down Captain Nolan's house without any explanation of this whale became such a genius that he can not only knows to knock down structural supports but also can look up addresses in the phone book, it directly shows how our incursion into the world of nature is two-fold. Robert Carradine's tragic death in the film is social commentary on the probability of being eaten if you stand around on a boat being followed by a crazed killer whale. And probably also something about Vietnam, I assume.

And while most in Hollywood choose not to admit it, many have ripped off Orca. The dead baby scene in Trainspotting is suspiciously reminiscent of the dead whale fetus scene in Orca. The creepy quasi-romance between an intelligent female and a somewhat crazy violent child murderer is directly stolen by George Lucas for Star Wars: Episode II. The use of icebergs is blatantly co-opted by Titanic, and I have never heard James Cameron so much as thank Michael Anderson. And don't even get me started on Free Willy. Orca is a complicated story. If you only enjoy movies with obvious heroes and villains, this is not for you. The characters are conflicted. Very conflicted. Take for instance how the killer whale jumps for joy after biting off Bo Derek's leg. The whale shows both glee in his jumps, but also the pain of having lost his family and never being able to bring them back no matter how hard he fights those who took them from him. Like Batman. You see, the only thing black and white in this movie is the killer whale itself. While Orca does not now get the respect it deserves, in time people will realize its genius. Just as people did not understand gravity or continental drift, in time they will come to recognize Orca as the greatest cinematic achievement of all time.

Good News, Everyone!!

Over the years of serving up your Cup of Joe (fresh and hot), this semi-experimental online  original commentary on our collective Past, Present and Future, well, sure, there's been great focus on politics. But something happened.

Pretty much a year, two even, have been posts about the Con Man Who Swindled America.

Titanic effort has been applied all along by yours truly to resist attempting to endlessly post pithy captures our current Idiocracy. The effort has won the day, so, in the words of Professor Hubert J. Farnsworth, "Good news, everyone!" More normal weird and wonderful items are making a welcome return here.

(No, I'm not turning blindly away. How could anyone? We all know what a horrible place we've become. America is now the place parents warn their children about. "And if they catch you, they'll lock you away forever.")

So.

First we heard about an Alabama man who allegedly had an Attack Squirrel, which he had been feeding meth in order to make it "aggressive", so the police better watch out! Then came The Chase after said owner of the perhaps meth-addicted Attack Squirrel.



Ok then.
---
Movies have been on my mind too, as always. Especially regarding the process of making them. As a hardcore fan of the films of Stanley Kubrick, I I enjoyed this oral history about the making of the orgy scene in Kubrick's final film, Eyes Wide Shut.

"Peter Cavaciuti (Steadicam operator): Stanley’s precision was the thing I remember most. I had three lasers on the Steadicam, pointed to the ground, and when they all lined up, a grip would drop a plumb line from a string from the lens; then I’d line my lasers up, and then the grip would talk me into the mark, saying I was two inches, one inch on the mark. That level of precision was pretty exceptional. You’d very rarely do less than 20 takes. So physically and intellectually, it was demanding. Very often, Stanley would say to me that I wasn’t on my mark. I’d look down and I had my three lasers, so I’d say, “Well, I am on the mark, Stanley.” And one time Tom Cruise whispered to me, “Just move the camera, Pete.” [I realized] it was just code for saying that Stanley wanted to put the camera in a different place."

As much as he was known for being a control freak, it is much more a case of his being a collaborator - gathering very talented people, work with them for months to create the best way to tell a scene or a story, and still at the moment of shooting the scene being open to what else might be possible. 
I was also struck by descriptions of Tom Cruise and Nicole Kidman as great to work with - helpful and contributing to the work. One doesn't spend years working on a difficult project unless their is great commitment and excitement.

--

How about pretty much every way you can cook a potato?

Happy Blog Birthday Number 11

11 years done, starting year 12.

A somewhat erratic and enthusiastic post launched this humble but lovable blog. Visions of multiple posts per day flew about my brain but pretty quickly I saw that would not be the case. Amid a cacophony of online voices and corporate blog productions, I realized I could take my time, my own sweet, sweeeet time. Not much clickbait here, no advertising, just me and you humble but lovable readers. 

I am still here, many are no longer publishing. 

Thousands of posts have been written and published by myself, thousands more never made the cut. For reasons I cannot offer, the most read post on this page has been this one right here. You are welcome to ponder on why that is so.

There have been many, many posts on politics - but sadly it seems Tennessee's governing bodies have successfully eliminated all but the voices of a single political party in Tennessee. Only Republicans dominate, all other voices are dismissed and demonized and most recently they have been flatly outlawed by the state legislature -- Tom Humphrey explains that every county election commission is forbidden currently from having a Democrat chair such a commission - no minority voices allowed.

"The cited law, enacted earlier this year by the Legislature to take effect on July 1, declares that all county election commission chairmen must be members of the political party representing a majority of the commission. Under separate state law, Republicans have a majority on all county election commissions and on the State Election Commission as well."

So, yay Freedom. I live in a state where a single political party rules and has ruled for some years. I'm not saying they are bad folks - I'm saying my views, my voice, and that of many more Tennesseans, are not heard, not acknowledged, not allowed and that reality comes at a price.

The other most common posts here over the years are about movies, and I recently watched again a comedy favorite which I shall share - it's called "The Impostors", a slapstick comedy following two dim-witted out-of-work actors forced to stow away on a luxury cruise headed to Paris. The cast is chock-full of great performers - Isabella Rossellini, Tony Shaloub, Allison Janey, Woody Allen, Steve Buscemi, Oliver Pratt, Billy Connelly and many more. Worth a look --

The Fans That Destroyed The Earth

Who should play the next James Bond?

Why should fans of 007 pick the next performer to play the role? Are they so scared in Hollywood or that lazy?

Too often the Internets gets blocked up with What Fans Want.

Well, if a Fan of some genre or media knows so much, why are they just Fans? Can't they get the jobs to make the stuff that gets Fans?

Fans churn out reviews of movies and tv and books that are old, new and unmade - like they're possessed, and yet it's always about someone else's works. Fans even make videos of themselves opening packages of what they are Fans of, and those videos have millions of Fans.

Perhaps we shouldn't have provided Internets space to Fan Fiction, Fan Movies and Mashups, just insane niches that feed Fan Entitlement. ("My Little Pony" has, for instance, expanded and distorted into a weird mix of Salvador Dali and Larry Flynt.)

I get it - we make things from the artifacts of our lives. I've done it, but not in any coordinated Fan Horde Attacks.

And the Internets is a machine that builds Fans. See this "Sexts, Hugs, and Rock'nRoll" article about the ongoing DigiTour of ... well, never heard of these folks until now so I'll call them Internets Idols:

"With full lips, Bieber bangs, and piercing blue eyes, Hayes has the unsalted-butter looks of the love interest on a CW show or the villain in a John Hughes movie. He dresses in the superficially alternative but fundamentally nonthreatening uniform popularized by Urban Outfitters and adopted by every (white) Cool Guy in every high school in America: jeans, skate shoes, graphic T-shirt or baggy tank top with the armholes cut low. He speaks slowly and indistinctly, with a soft North Carolina accent. He has beautiful teeth."

And all he (Hayes) does is make Fans.

Fan demands of casting and scripting are ridiculous, media makers use them for publicity, but it's too far - look what happened to the simple science fiction awards known as Hugos: a weird Fan Coup has butchered the proceedings.

You're a Fan of something? Great. Shut up. I'm working here. 

Every 1970s Movie Reviewed

This website I'm linking to is so good I hardly know where to start. The name nails it well - Every70sMovie. Every day writer-filmmaker Peter Hanson posts a review of a 1970s movie, a task he's been at since October 2010.

So yes, big. And an incredibly wide range of theatrical and TV movies are here. Random sample One:

The Devil's Widow (1970)
Only movie directed by actor Roddy McDowell, starring Ava Gardner and Ian McShane
Based on a Scottish myth, "The film begins at the sprawling Scottish estate of Michaela Cazaret (Gardner), a middle-aged woman of unclear national origin who populates her castle and its grounds with swinging young people."

Sample Two:
(this is one of my favorite 70s movies by far)

The Last of Sheila
written by actor Anthony Perkins and Broadway composer Stephen Sondheim, but this is no musical. The story is that Perkins and Sondheim and friends were game lovers, played many scavenger hunts, and this murder mystery movie grew from that. It's got a fantastic cast - James Coburn, James Mason, Raquel Welch, Dyan Cannon, and more rich-and-idle characters who find out too late they are all soon to be victims of revenge
Hanson calls it a "jet-set caper movie.


Not even the tip of the iceberg of this site, which also lists movies by title and a giant list of names of all the players. Just go read and get lost for a while.

The Hateful 8: American Politics 2016

The Hateful Eight will eventually be classified as one of director Tarantino's most outspoken political movies (even more than the one where his characters kill Hitler, which is more Grindhouse than political).

Like the sprawling views of the American political landscape in 2016, Tarantino goes as big as the camera allows, in 70 mm, and within the frame the characters are all deeply paranoid about one another, they all feel stuck, alone, confined, they have hidden agendas which have devastating consequences, and there's the visceral hatreds about race and then there's this letter from President Lincoln which is a herald for legitimacy and high-minded democracy. And much of what is rolled out - from characters to plot points - are all rather sketchy on the truth. It's like a pack of arguing Facebook commenters trapped in a room.

Women are bashed even more just for being in the conversation, worse if they speak. The way she is treated, the effort made by each of the characters to describe themselves via their roles in the social order, aren't really made to create comfort in viewers - the opposite in fact - we question everyone too. The status quo is up for grabs, a newer America is emerging.

Walter Goggins' character Mannix is, as he describes it, the one person in the group who is moving with the changing times and seeking his own answers:

" ... if you look at the course of that dialogue and the way he constructed that scene and how Mannix leans in and pulls back, he gets extremely aggressive and extremely passive. Mannix ends it with this vitriolic, defensive posture for his father and the institutions for the South and what the South stands for, and then Marquis pulls out his gun and Mannix says, “[Puts on the character’s voice] Oh, no, no, no, you got me talking politics.”
---
"Mannix is constantly shifting. He’s a real interesting guy in an arrested state of development, and you feel that in the stage coach. Everything that comes out of his mouth, at least for me, is regurgitating a worldview he got from his father and the people around him. None of those thoughts are his own, because he’s not a man; he doesn’t have the ability to think for himself until later in the movie. It all starts in that carriage scene, man.

(One non-political realization from the movie - almost each time two people speak together, someone is gonna get killed.And even if not, that possibility haunts one-on-one conversation.)

Oh and no one really emerges well from the political swamp they are in - not much to be solved locked into this particular space and time, everyone is asking the wrong questions or not enough of the right ones.

It's a pretty damning social commentary. told like a Western yarn spun round the campfire.And yet, ever the cultural compiler in cinema, Tarantino also builds this tale through the tropes of a Mystery, a sort of Locked Room whodunnit. And that too underpins the political commentary - so many unknowns when living in such a paranoid world.

Here's a fascinating roundtable talk with Tarantino, Ridley Scott, David O. Russell, and other top directors talking about filmmaking - great stuff.

Here's a terrific interview with Jennifer Jason Leigh on DP/30's YouTube page, and he's got more with the whole cast.

Sony, Korea and Millions of Shoes

Movies can be dangerous things. Comedy and satire too mingle with danger, tyrants and dictators aren't powerful due to their great sense of wit.

Yesterday, fearful of a promise of violent attack on movie theaters showing "The Interview", Sony Pictures pulled the movie from release. The movie's comic misadventures in a silly CIA plot to assassinate an actual, living human dictator in North Korea catapulted it from obscurity to infamy and history in record time.

Immediately too, cries that removal of the movie from distribution was giving terrorists control followed Sony's decision.

Sadly, caving in to demands of supposed terrorists seems more a rule than an exception.

Millions upon millions of shoes being removed at airports seems proof of that. Nation after nation has embraced a grim surveillance society since 2001. Haven't we already caved?

As for the movie -- did North Korean hackers acting on behalf of the state attack Sony? Some say no way:

"It's not possible. It would have taken months, maybe even years, to exfiltrate something like 100 terabytes of data without anyone noticing. ... Look at the bandwidth going into North Korea. I mean, the pipelines, the pipes going in, handling data, they only have one major ISP across their entire nation. That kind of information flowing at one time would have shut down North Korean Internet completely."

"Monsegur thinks it's also possible this was an inside job, that an employee or consultant downloaded all the information from Sony's servers and then sold it to someone else."

The potential of lawsuits against distributors and theater owners seems large, given they had been "warned" ahead of time of an attack on theaters.

The screenwriter of "The Interview" is beyond amazed by all this.

That's One Way To Kill A Vampire

Ah, the children of the night ... what a mess they make!!

Happy Halloween!!

'Gone Girl' - David Fincher's Social Critique

"As a director, film is about how you dole out the information so that the audience stays with you when they're supposed to stay with you, behind you when they're supposed to stay behind you, and ahead of you when they're supposed to stay ahead of you." -- David Fincher

It's so good to see a storyteller like David Fincher achieve popular success without chucking away the thought and artistry that make movies more than just memorable - his films almost haunt you and refuse to dissipate. His newest movie, "Gone Girl", is imminently a marketing dream (best-selling novel, hot topic actors), but troubling, provocative under-currents stream all through the show.

His other films, "The Social Network", "Se7en", "Zodiac", "Fight Club", "Girl With The Dragon Tattoo" and his TV series "House of Cards" - are careful, meticulous compositions that blend the images, words and sounds into something far more than the sum of their parts. It's a hell of a critique on modern times.

There's a panic-filled America on display. Institutions (business, marriage, class structure, school, judicial systems, finance, journalism, politics) are craggy, crumbling and crippled and still must be negotiated, traveled and endured. The only thing more dislocative than being inside these edifices is to be without them. Fincher nails this eroding world expertly:

"Gone Girl explodes marriage,” says Rebecca Traister. “And it explodes precisely the one kind of marriage that is still idealized, between white, urban sophisticated people that meet in mid-life. There are many marriage models out there but this is the one that is still viewed aspirationally:   between white, beautiful, privilege educated New Yorkers. That is the picture of marriage that is sold to us, the one we all must desire. And that is the one the book vandalises. So there is a subversive argument being advanced about marriage in the film, that it's not an institution that can tame women any longer."

From Gillian Flynn's novel, "Gone Girl": 

"It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. . . . You know the awful singsong of the blase: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: the secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script."

And there's still enormous amounts of wit and satire, a sense of the playful amid the horror show of the current age. "Gone Girl" likewise challenges perceptions - and makes box office bucks too. 

His approach to "Gone Girl". Another recent interview here.

"Anybody looking outside themselves to make themselves whole is delusional and probably sick." - David Fincher

Films Saved From Mindless Extinction

Real movies made on real 35mm film will live on thanks to a handful of modern filmmakers – and I hope their efforts last many years.

Kodak alone remains today as a producer of 35mm film stock thanks to the investment from directors like Quentin Tarantino, Christopher Nolan, Martin Scorsese, J.J. Abrams and Judd Apatow, and Tarantino is providing actual films from his own collection of prints to screen at the New Beverly Cinema.

Kodak says:
“After extensive discussions with filmmakers, leading studios and others who recognize the unique artistic and archival qualities of film, we intend to continue production," Kodak Chief Executive Jeff Clarke said in a statement Wednesday. "Kodak thanks these industry leaders for their support and ingenuity in finding a way to extend the life of film."

The rush to digital tech has blindly discarded film – which in fact is far superior for long term archiving. It’s stunning that it’s been the studios themselves which have driven the effort to make filmmaking extinct.

The disposal attitude might confuse some folks so think about it this way – would it make any sense for the production of paint and canvases to be eliminated merely because many artists today use digital technology to create artworks?

Would it make any sense to no longer make, say, a French coffee press because drip coffee makers are more popular?

Would it make any sense to eliminate the use of raw materials like stone or metal because of the emergence of 3D printing technology?

Such ideas make no sense.

Kudos to these wise artists.

Artistic methods and tools and technology are always changing – but allowing such tyranny because something is New is ridiculous.

Long live film!

The World Has Lost the Original Star Wars Movie

I feel your pain.

Director/producer/movie mogul George Lucas doesn't want anyone to see the movie which launched the legend of Star Wars.

"In 1978, Star Wars won seven Academy Awards. But if you want to watch that original version, the first of George Lucas’s soon to be seven-part saga, you’ll find it difficult. In fact, it’s actually impossible to buy an official copy of Star Wars as it was first released. Lucas doesn’t want you to see that version. Instead, he wants you to watch the continuously updated special editions—movies with added CGI, changed sound effects, and whole new scenes.

But fans aren’t the only ones who want Lucas to release the original. Curators at the National Film Registry picked the 1977 version of Star Wars to preserve for history’s sake, but they still don’t have a copy in the registry. When they asked for a copy, Lucas refused, saying that he would no longer authorize the release of the original version. The Library of Congress does have a 35mm print of Star Wars, one that was filed in 1978 as part of the movie’s copyright deposit, but the registry, where films are meant to be preserved for history, is still without one."

But you can't see that copy, it's archived for preservation.

Rumors flew last week an non-updated, original version of the first trilogy was headed for Blu-ray ... but I don't think so. Disney now owns all the movies - except for the original Star Wars, which is owned by Fox. They aren't talking about a new Blu-ray

I feel your pain.

I was there when it hit theaters the first time. I was there hundreds of times. .It was, indeed, glorious. 

That moment, that experience has vanished now, despite, as mentioned in the link above, the fierce efforts of fans to return to that original. Perhaps this can be a learning moment for you. Treasure your experiences. They seldom remain something you can own.

However, the world today does have the world that the movie helped create - the history, the intense fandom, the continuing saga - and for that we can be thankful.

Dear White People

"There are some knee jerk reactions to the phrase 'Dear White People' and I get it. No one wants to be called racist, and some folks are still waking up from the fantasy that having a Black president means America has somehow become 'Post-Racial.' 

"The truth is, my film isn't about 'white racism' or racism at all. My film is about identity. It's about the difference between how the mass culture responds to a person because of their race and who that person understands themselves to truly be. All explored through the microcosm of a success oriented Ivy League college." -- writer and director Justin Simien

The First Baby-Boomer Horror Film Returns

"The Texas Chainsaw Massacre" was a raw, relentless assault on moviegoers in 1974. And it's still as grim and challenging today - forget those weak generic "remakes" of recent years. They are not worth ten seconds of your time. The original is being re-released in a new digital restoration in theaters this summer (slated for Nashville's Belcourt July 25 and seeing this one in a theater is an amazing experience, bested only by seeing it on a drive-in movie screen, the sounds of saws and screams echoing in mono sound across the parking lot.).

Here's the trailer for the re-release (maybe NSFW)

Writer John Bloom, aka Joe Bob Briggs, authored a terrific history of the making of the movie in this 2004 essay, go read it. Bloom keenly observes:

"Chainsaw was the first baby-boomer horror film, in which pampered but idealistic suburban children, distrustful of anyone over thirty, are terrorized by the deformed adult world that dwells on the grungy side of the railroad tracks. There had been other films that treated rural America as a place of seething, barely contained violence—notably Deliverance—but never one in which the distinction was so clearly made between an old America, of twisted, deranged adults, and a new America, of honest, right-thinking children."

And there's this:

"We had no prop man, so I found the props. We didn’t even have a chain saw. I found one. Of course, today I would know that if you’re making a movie with ‘chain saw’ in the title, you should have ten, not just one. But we had one. A McCollough. I had to take the teeth out of it so it wouldn’t hurt anyone. I remember we wrote a letter to McCollough, thinking they might want to invest in the movie. They never answered us.”

Bloom details the movie's connection to a wee baby Gwyneth Paltrow, director Sidney Lumet, and the resignation of President Nixon. Bloom of course is a horror/drive-in legend for his Joe Bob writings, and was even given a cameo in the 1986 sequel, the movie which also gave us Bill Mosely as Chop-Top and Dennis Hopper in all his bizarro glory as a Texas Ranger hunting down the cannibal family. But this sequel is more of a mash-up of Looney Tunes and Chainsaws.

The original is a take-no-prisoners descent into madness.

Director/writer Tobe Hooper did such a good job scaring the crap out of audiences and Hollywood, his career never really took off, despite his success with "Poltergeist". And oddly the formula he created for the independent (now mainstream) horror movie was copied and repeated to bring massive success to John Carpenter and Sam Raimi. But Hooper, the first to break thru so many barriers, was a casualty.

Where Are The Women?

I noticed an image of four film directors who have been the premiere filmmakers of the last few decades, Scorsese, Spielberg, Coppola and Lucas – which I liked for simply the way it looked and for the influence these fellows have had over movies. But the image prompted a friend to say that despite the radical changes these men made, they didn’t really provide much change for opportunities for women as filmmakers.

It’s a good point, to which she added that perhaps in decades to come we’ll see a collection of grey-haired ladies who have made movie history. I think it’s worth noting that an elite group of women have been crucial to the success of these fellows, though.

Scorsese has had one person, film editor ThelmaSchoonmaker, craft all his films into shape, from “Woodstock” to his current projects. His films have a total reliance on editing, providing the rhythms and structure that are seen as hallmarks to his work. Likewise, Spielberg’s first two film s, “Sugarland Express” and “Jaws” were edited by Verna Fields – let’s be honest, it’s the editing that makes “Jaws”.

But most consistently, he has relied on producer Kathleen Kennedy – from “E.T.” onwards, and she recently took the helm as the boss at Lucasfilm, and has control over all the upcoming “Star Wars” films as well. Kennedy’s work has garnered 120 Oscar nominations so far. Her credits are most impressive.

Yet, she is quoted on IMDB as saying:

“I don't think there's a great deal of discrimination -- although I'm completely perplexed and confused as to why there aren't more women. For instance, if we're looking for new, young directors, which is something we do all the time, we certainly never go look at films because they're directed by a man or a woman. We look at films because they are winning awards, they're good, and it has nothing to do with gender. And women certainly have equal opportunity to get into a university like UCLA or USC, to get into the film department, to take the same courses to allow them to make films, to deal with a whole gamut of subject matter, and yet I don't know what happens. There's something that happens in the process of getting there that seems to turn many women away.”

As for George Lucas – an interesting fact – his wife Marcia was integral to his earliest works, again as a film editor, for the “Star Wars” films, and on “Taxi Driver” with Scorsese. But, once the couple divorced in 1983, she left Hollywood and filmmaking. Scorsese’s wife Barbra Da Fina was also his producer from “Color of Money” to projects now underway – but they too divorced.

Coppola – well, that has brought us his daughter Sofia, a rising star director.

In truth, these four men did much (successfully or not) to mark the end of studio control and the rise of independent filmmakers, but they are certainly the Old Boys network leaders today. Fighting those powers, asserting control, all was a rather constant and often brutal struggle.

And let’s be honest too – when it comes to the forms of Western drama, women were just barely allowed onstage as late as the mid-late-1800s. That’s a huge hurdle to overcome. Oddly, back in the old Hollywood studio days, women were pretty much in charge of all film editing, as wage-workers mostly, since studio heads saw the job as rudimentary and lacking artistic merit.

Recently, film director Lexi Alexander has been writing about the lack of opportunities and challenges women face in today’s filmmaking world. She is tackling the problem head-on:

“Gender discrimination in Hollywood goes far beyond women simply not getting the gig. It is reflected in movie budgets, P&A budgets, the size of distribution deals (if a female director's movie is lucky enough to score one), official and unofficial internship or mentorship opportunities, union eligibility, etc.

“Women in Hollywood have no male allies. There are some who pretend to be on our side, but yeah, not really. They may say the right thing because, after all, they're liberals and that's a public image they'd like to keep up. Others may actually believe in gender equality, but are not willing to put up a fight for it that could sacrifice their own status or relationships.”

Here’s what I know for certain, no matter that much of the world can’t seem to grasp this idea: It’s a grave error to marginalize women, no matter what the field of endeavor. And changing this view is indeed a large obstacle.

A Prime Selection of Long Reads

The "long read" nature of my writing style and my general slow, sometimes oh-so-slow, process could - to some readers- appear contrary to the popular binary wave patterns digital lifestyle blurring past us and around us. But hang in there kiddo, it's worth it.

So while I apologize for making you wait for a new post, I bring gifts, a prime selection of long reads - first up is an artist using photography and digital tech to create powerful images. Via Medium, their profile of Adam Maygur begins:

"Adam Maygar is a computer geek, a college dropout, a self-taught photographer, a high-tech Rube Goldberg, a world traveler, and a conceptual artist of growing global acclaim. But nobody had ever suggested that he might also be a terrorist until the morning that he descended into the Union Square subway station in New York.

At the time, Magyar was immersed in a long-running techno-art project called Stainless, creating high-resolution images of speeding subway trains and their passengers, using sophisticated software he created and hardware that he retrofitted himself. The scanning technique he developed—combining thousands of pixel-wide slices into a single image—allows him to catch passengers unawares as they hurtle through dark subway tunnels, fixing them in haunting images filled with detail no ordinary camera can capture."

Please oh reader, explore his images on Medium, as my humble but lovable blog cannot convey how fantastic Maygur's work is:

Maygur says at one point: These moments I capture are meaningless, there is no story in them, and if you can catch the core, the essence of being, you capture probably everything." A constant element in the my own writing/pondering about writing is about the nature of Art itself. By which I mean, what prompts the creation and execution? That leads us to an interview with Phillip Roth, the now-retired Phillip Roth, whose the hands down winner of, if not the long read, the long answer to press questions. And his mastery of language is impeccable. Below, Roth gives an assessment of America:

"Very little truthfulness anywhere, antagonism everywhere, so much calculated to disgust, the gigantic hypocrisies, no holding fierce passions at bay, the ordinary viciousness you can see just by pressing the remote, explosive weapons in the hands of creeps, the gloomy tabulation of unspeakable violent events, the unceasing despoliation of the biosphere for profit, surveillance overkill that will come back to haunt us, great concentrations of wealth financing the most undemocratic malevolence around, science illiterates still fighting the Scopes trial 89 years on, economic inequities the size of the Ritz, indebtedness on everyone’s tail, families not knowing how bad things can get, money being squeezed out of every last thing — that frenzy — and (by no means new) government hardly by the people through representative democracy but rather by the great financial interests, the old American plutocracy worse than ever. You have 300 million people on a continent 3,000 miles wide doing the best they can with their inexhaustible troubles. We are witnessing a new and benign admixture of races on a scale unknown since the malignancy of slavery. I could go on and on. It’s hard not to feel close to existence here. This is not some quiet little corner of the world."

I was deeply grateful to discover a 1999 essay om Stanley Kubrick's "Eyes Wide Shut" by Tim Kreider - grateful because it was a brilliant piece about why EWS is great and critics of the day so very wrong. Ignoring all of Kubrick's previous work is idiotic as he was likely the most thoughtful composer of film images ever to wield  a movie camera. I  too read the movie as a scathing critique of greed and corrupt depravity at the cusp of the 21st century, especially among the mega wealthy, and a critique of those who see themselves as above such lowdown behavior. At heart, their is a murder mystery in the movie and the resolution so typically Kubrickian - intriguing spaces for audiences to ponder on meanings and conclusions:

"The open-ended narrative forces us to ask ourselves what we’re really seeing; is Eyes Wide Shut a movie about marriage, sex, and jealousy, or about money, whores, and murder? Before you make up your own mind, consider this: has there ever been even one Stanley Kubrick film in which someone didn't get killed?"

Let's follow the questions about creating home to Tennessee, or at least the South. Located on the Tennessee River, the music recorded in the wee studios of Muscle Shoals are the very foundations of rock and roll and soul music. The 2013 documentary "Muscle Shoals" has been airing on PBS recently and its a solid 2 hours of artistic collaborations that made history,

Yes, I know, a movie is not a read. How about reading movies? Would that work? Actors in Hollywood have been staging live readings of movies, most recently the notorious script for Quentin Tarantino's western The Hateful Eight" - notorious because it got leaked online, which pissed him off so much he decided to not make the movie and sued Gawker for linking to the script. But actors are doing more scripts with all new casts:


"We started with The Breakfast Club," says Elvis Mitchell, the former New York Times critic who now curates film at LACMA. ... Imagine The Graduate without Dustin Hoffman or Anne Bancroft. Now imagine those roles being filled by Jay Baruchel and Sharon Stone (that was April's other live read),  all in a stripped-down environment with the actors sitting in a row at a table facing the crowd, with their character names on a card in front of them, like the US supreme court in session. The approach has produced some happy moments of inspired casting, such as Paul Rudd and Mindy Kaling in The Princess Bride, Seth Rogen as The Big Lebowski, The Usual Suspects with Dexter's Michael C Hall, and the pilot episode of Breaking Bad, which was vigorously rejigged with Rainn Wilson as Walter White and Mae Whitman an absolute riot as Jesse Pinkman (Bryan Cranston and Aaron Paul were among those cheering from the stalls). Other productions have included Ghostbusters, with Rogen, Jack Black and more Rainn Wilson, and a Boogie Nights do-over that was especially well received, with Taylor Lautner as Dirk Diggler and Don Johnson in Burt Reynolds' porn-impresario role."

The Movie You Are Too Scared To See

Ridley Scott and Cameron Diaz

More than once filmmaker Ridley Scott has defied Hollywood and audience expectations by bringing an unusual writer's work to the screen - Joseph Conrad ("The Duellists"), Phillip K. Dick ("Blade Runner") - and his film of writer Cormac McCarthy's first screenplay, "The Counselor", confounded critics and some audiences. But the film distills the grim and rare voice of McCarthy's take on crime, which isn't about car chases and wisecracking  buddy cops. It's a world with no heroes, no redemption.

McCarthy's story rolls out in the brutal world of drug trafficking, cartels and the barren borderlands. The cartels alone make the gangsters of American legend look like Boy Scouts. In this tale, a would-be drug deal goes bad and the cost is beyond horrifying. It's a predatory world, relentless and without morality.

It's daring, this descent into the darkness. It offers a femme fatale (Cameron Diaz) who devours everyone with pure ferocity. And perhaps it is much too honest - the viewer is without a safe haven, and most movies today just don't go there or close to there.

Scott had been trying to develop McCarthy's very dark Western novel, "Blood Meridian", into a film but Hollywood couldn't handle it - he says "It would have been rated double-X. It’s Hieronymus Bosch, the way McCarthy describes the first time you see several hundred horses with bones and feathers on them, and you can’t see a rider until you’re staring at the Comanche. It’s horrific. He writes in visual images which are spectacular, so it suits me down to the ground."

The truth, the reality of what's happening in the Southwest and Mexico as drug cartels slaughter their way to impossible wealth is hard to believe. And this film reveals what happens to a handful of people who venture into that wasteland. No romantic criminals here, no good guys rush in to save the day. 

"The Counselor" isn't a film for mainstream consumers - it's a complex and unflinching view of dark hearts in a sun-baked desert. It is one of the most haunting movies you'll ever see.

East TN Drive-In Goes Digital to Survive

The State Line Drive-In in Elizabethton is offering a free night tonight to celebrate the installation of a new $80,000 digital projection system, thanks to the many, many votes it received in a contest via Honda's Project Drive-In. For a moment it seemed all was lost.

I have mourned and still rue the loss of 35mm film projection as all theatre owners must either go digital or lose the ability to show new movies. Revival houses will, for now, still be able to run, but non-digital films will soon be available only from private archives. It's either digital or darkness.

I've had many fine hours at the Stateline - like that double bill one summer night for "Logan's Run" and "Demon Seed". I'm very happy this location will continue to run - most won't, like the Midtown Drive-In in Harriman.

How Roger Ebert Changed The World

Like so many in the nation and the world, I paused this week to mark the passing of film critic Roger Ebert. He was one of a few writers who shaped how and why I write.

I am a full-blown movie addict, and have been since I was but a wee child. Unless I am working chances are I'm watching movies - and I'm talking about days going past as I watch one after another. There are hundreds of films I've seen hundreds of times. Growing up it was very hard to find writings about movies - not celebrity stories but about the art of making them.

Roger was one of the first people I discovered who championed movies as The Art of our times. His Sneak Previews show which arrived in the late 1970s on PBS with Gene Siskel was a pure marvel - his passion for movies was vivid and endless and through his entire career he was able to manage the tricky task of simply watching a movie and critically exploring it and not letting the critic to overwhelm the simple viewer that most folks are. He often took Siskel to task for reviewing a movie for what it was not rather than what it was.

Prior to Ebert the only critics I had found were Knoxville's own James Agee's collected film writings and back issues of the New Yorker with Pauline Kael's reviews. But her insights lacked that quality Roger had of simply being able to watch a film and be entertained without the film be Something Important to Cinema. He saw and expressed all the layers a movie could have and eagerly shared them.

He had the fortune of being in the right time and place to bridge the movies of the old Hollywood studio system and the emerging auteur viewpoints of visionary directors and writers and chronicled that change as filmmakers like Spielberg and Scorcese rose to be the powers of Hollywood.

Roger met Kael in 1967 and after she read some of his work told him it was the best film criticism appearing in newspapers. By 1969 Reader's Digest published his review of Night of the Living Dead and he was on his way to international fame.

He confessed to being a fan of director Russ Meyer's sexploitation movies and wrote the script for "Beyond the Valley of the Dolls", a purely ridiculous project, yet it showed how, like the best movies, Roger had many layers too.

What I took notice of thru the 80s and 90s was how film criticism had been broken free from publishers or academia and everyone began to talk and debate the merits of movies just like Roger did. He had a masterful knowledge of films but he also understood the value of subjective views.

And while this has spread among us all, there really aren't many paid critics today who write as simply and with as much style, who can surprise us with what a movie - old or new - can reveal to us about ourselves and our world.

But I am so very grateful to have lived and learned from him. He helped show the world how powerful a movie can be, how we have been exposed to great art which is not contained in a museum - it's a living thing we all share.

You Can Help Finish the Documentary on The Farm Commune in Tennessee

Two filmmakers are hoping the last few days of fundraising via their Kickstarter page will bring success so their documentary on the largest commune ever in the U.S., known as The Farm and located in Summertown, Tennessee.

The film "American Commune" was made by two sisters who were born on The Farm, then their family relocated to California, and they decided to document their return to their origins:

"When we left The Farm as kids and moved to Los Angeles, we were catapulted into another world.  We had never smelled perfume, eaten meat, seen women with makeup or men without beards, and we’d hardly watched TV. We were taunted for being “hippie kids” and did everything we could to blend in.

"The impetus for making AMERICAN COMMUNE was born out of our simple desire to understand where we came from.  As luck would have it, working in the heart of commercialism in New York City compelled us back to our roots. Suddenly, we needed to learn about what our parents were doing in the backwoods of Tennessee and how they, along with hundreds of others, managed to create a massive alternative society out of no more than passion and an empty spot of land. As we interviewed The Farm’s founders, our parents, and our childhood friends, we developed a greater respect for how hard everyone worked to realize their dream."

Learn more about The Farm at their website:

"The 150 present-day residents of The Farm have not rested on their laurels, but continue to create and demonstrate low-consumption, high-fulfillment lifestyles within a caring, socially active community; to conceive, finance and launch daring business enterprises that revolutionize the fields they compete in; to reduce the burden of external government; to mitigate the negative environmental, health and economic impacts of unsustainable global patterns; to demonstrate and export a variety of integrated social development strategies which can encourage diverse cultures worldwide to bypass unhealthy transitions; and to become a living example of the healthy and fulfilling interdependence of human and natural communities."