Speaking of which here's a clip from Chuck Berry Hail! Hail! Rock 'n' Roll, a fusion documentary/concert film from 1987, where Little Richard explains to Bo Didley (with Berry looking on) why black performers had such trouble getting on American Bandstand. The clip is only 48 seconds, but Little Richard's explanation can be summed up thusly:
Berry had reason to be bitter about what the music industry did to him. Doesn't completely excuse the way he treated other musicians, especially those who supported him on tour. Doesn't come close to excusing the sex with under-age girls, assault on women or videotaping them in the bathroom of his club.
I never watched Seinfeld, but I remember him and his wife, Anne Meara, from many years ago. Their commercials (radio) for Blue Nun wine were hysterical.
Playwright and founder of ACT UP Larry Kramer has died. Dying at age 84 in 2020 seems like a huge victory for someone infected with HIV during the first wave in the 1980s, yet it pales in comparison to what he achieved through his activism on behalf of others infected with that virus.
Street Cat Bob has died, aged 14+. He was the subject - and star - of a film about how he helped his human out of homelessness and drug addiction, as well as several books.
Dame Vera Lynn - has died aged 103, so -3 points to anyone who had her.
RIP Vera.
I don't know about the UK, but I would say that in North America, most people born after World War II only know her for We'll Meet Again, and that's only because of it's ironic use in one particular movie.
Not to mention 8MM, about snuff porn, which has to be one of the most laughably awful movies ever made. Doesn't even rise to the level of a campy exploitation flick, which is about the only way it could have been redeemed.
OTOH, I did like Falling Down, and don't buy the idea that it was intended as a celebration of the protagonist's actions(I thought the climax made that pretty clear). And Flawless, a few years later, was okay too, though probably owed more to the work of its stars(De Niro and Philip Seymour Hoffman) than with any directorial brilliance.
OTOH, I did like Falling Down, and don't buy the idea that it was intended as a celebration of the protagonist's actions(I thought the climax made that pretty clear).
You're meant to identify with his frustration, but he is not meant to be a hero.
I can't say I know his work that well - I recognised the name (almost certainly from the Batman conections), so felt that he needed recognising.
I am not sure you have really convinced me that his ouvre is worth exploring.
Well, to clear, he's not a director I would normally try to convince people to explore.
I do recommend Falling Down on the basis of aesthetics alone. It's pretty well made, whatever you ultimately conclude about its themes. 8MM is good for a laugh, but you will be laughing AT it, not with it.
A Time To Kill is a pretty tight courtroom drama, though it does descend into some rather questionable politics at the end. Other that that, it's been decades since I've seen St. Elmo's Fire. I remember thinking at the time that the characters were rather unappealing 80s yuppies.
Can't say anything from direct experience about his Batman efforts, though the Guardian's film critic seemed to suggest in the obit that they were maybe a little too childish for their zeitgeist, especially in comparison to Nolan's work. There are probably other shipmates who could comment on this better than I could.
I can't say I know his work that well - I recognised the name (almost certainly from the Batman conections), so felt that he needed recognising.
I am not sure you have really convinced me that his ouvre is worth exploring.
Well, to clear, he's not a director I would normally try to convince people to explore.
I do recommend Falling Down on the basis of aesthetics alone. It's pretty well made, whatever you ultimately conclude about its themes. 8MM is good for a laugh, but you will be laughing AT it, not with it.
A Time To Kill is a pretty tight courtroom drama, though it does descend into some rather questionable politics at the end. Other that that, it's been decades since I've seen St. Elmo's Fire. I remember thinking at the time that the characters were rather unappealing 80s yuppies.
Can't say anything from direct experience about his Batman efforts, though the Guardian's film critic seemed to suggest in the obit that they were maybe a little too childish for their zeitgeist, especially in comparison to Nolan's work. There are probably other shipmates who could comment on this better than I could.
I watched something that spoke of Batman being cyclic in nature, from light to dark and that Schumacher was hired with the remit to lighten it up from Keaton's dark and slightly mad effort. ISTM, he took it too far in trying to emulate the 1960's television show. He was unsuccessful, especially with the second one, and it was a different time.
I can't say I know his work that well - I recognised the name (almost certainly from the Batman conections), so felt that he needed recognising.
I am not sure you have really convinced me that his ouvre is worth exploring.
Well, to clear, he's not a director I would normally try to convince people to explore.
I do recommend Falling Down on the basis of aesthetics alone. It's pretty well made, whatever you ultimately conclude about its themes. 8MM is good for a laugh, but you will be laughing AT it, not with it.
A Time To Kill is a pretty tight courtroom drama, though it does descend into some rather questionable politics at the end. Other that that, it's been decades since I've seen St. Elmo's Fire. I remember thinking at the time that the characters were rather unappealing 80s yuppies.
Can't say anything from direct experience about his Batman efforts, though the Guardian's film critic seemed to suggest in the obit that they were maybe a little too childish for their zeitgeist, especially in comparison to Nolan's work. There are probably other shipmates who could comment on this better than I could.
I watched something that spoke of Batman being cyclic in nature, from light to dark and that Schumacher was hired with the remit to lighten it up from Keaton's dark and slightly mad effort. ISTM, he took it too far in trying to emulate the 1960's television show. He was unsuccessful, especially with the second one, and it was a different time.
Thanks for what sounds like first-hand insight.
Personally, I have for a while now thought of the Burton films as being light, but that might be because I'm comparing them to the Nolans, and also probably viewing them in the context of Burton's later career(to oversimplify(*), he doesn't do dark, except as pastiche).
Of course, in the late 8os/early 90s, everyone was comparing Burton's Batman to the TV show, by which measure it did indeed seem pretty dark. If Schumacher's films are as described, yeah, they'd probably seem pretty airy.
SPOILERS
(*) Big Eyes is kind of dark, but only because it deals with psychological abuse and domestic violence, rather than haunted houses and headless horsemen.
Sweeney Todd is darker than it feels, ironically Burton's style lightens the subject. Burton's Batman uses guns and kills people. Besides being anti-canon, that is pretty dark for Batman to that point.
Sweeney Todd is darker than it feels, ironically Burton's style lightens the subject. Burton's Batman uses guns and kills people. Besides being anti-canon, that is pretty dark for Batman to that point.
And the Penguin addressing Catwoman as "Just the [synonym for a feline animal] I've been waiting to see" was pretty anti-canonical as well!
Still, and allowing that my memory of all these films began fading pretty soon after watching them, I still think of the first two as taking place in a fairy-tale sorta world, whereas the Nolan films(to say nothing of Joker) seem set in something closer to a real urban environment, with all the grit and desolation that goes with that.
Still, and allowing that my memory of all these films began fading pretty soon after watching them, I still think of the first two as taking place in a fairy-tale sorta world, whereas the Nolan films(to say nothing of Joker) seem set in something closer to a real urban environment, with all the grit and desolation that goes with that.
ISTM, that is the crux of the comparison. Burton's style hides the darkness whilst Nolan's accentuates it. So the same level of dark appears deeper or lighter by the contrast to the setting.
New Testament scholar, Jimmy Dunn, has died at the age of 80. I heard him preach occasionally at North Road Methodist in Durham. A scholar who wore his immense learning very lightly. Many have learned from him and his legacy will endure. Goodbye, good and faithful servant. Until we meet again...
American terrorist Thomas Blanton, one of the men responsible for the bombing of the 16th Street Baptist Church in Birmingham, Alabama, has died in prison. At the time of his death Blanton was the last surviving bomber of the 16th Street Baptist Church.
Comedy legend Carl Reiner has died at the age of 98.
I was just thinking a few days ago that his time would be up soon.
By my count, his career spanned seven decades, though I don't think I've seen anything by or with him predating Oh, God!
Arguably, his brand of humour, rooted in 1950s television, did not age particularly gracefully. The last time I watched scenes from The Jerk, which at the time of its release was hyped as a hip comedy featuring the hottest young comic of his day, I was struck by how it seemed to be like something from my parents' era(aka Silent Generation).
Oddly enough, I'd say Oh God! was probably the latter-day film of his which seemed most at home with its time-period, despite bring fronted by an actor previously obscure to most people under 40. And I'd say it's aged rather well, too, probably because its themes are pretty universal.
He gave credible perfotmances in the Ocean films as well. RIP.
Comments
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6 Leorning Cniht 19 2 0
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https://www.bbc.co.uk/news/entertainment-arts-52933584
AG
I love Jerry Stiller. I missed this news and I'm quite sad.
RIP Vera.
1 Spike 27 2 0
2 Priscilla 23 1 0
2 Schroedingers Cat 23 1 0
2 Simon Toad 23 1 0
2 Sipech 23 1 0
6 Leorning Cniht 19 2 0
7 Wet Kipper 10 1 0
8 la vie en rouge 9 1 0
9 jedijudy 8 1 1
10 Eigon 4 1 0
10 Phantom_Flan_Flinger 4 1 0
12 McMaverick -6 2 2
I don't know about the UK, but I would say that in North America, most people born after World War II only know her for We'll Meet Again, and that's only because of it's ironic use in one particular movie.
Not to mention 8MM, about snuff porn, which has to be one of the most laughably awful movies ever made. Doesn't even rise to the level of a campy exploitation flick, which is about the only way it could have been redeemed.
OTOH, I did like Falling Down, and don't buy the idea that it was intended as a celebration of the protagonist's actions(I thought the climax made that pretty clear). And Flawless, a few years later, was okay too, though probably owed more to the work of its stars(De Niro and Philip Seymour Hoffman) than with any directorial brilliance.
I am not sure you have really convinced me that his ouvre is worth exploring.
Well, to clear, he's not a director I would normally try to convince people to explore.
I do recommend Falling Down on the basis of aesthetics alone. It's pretty well made, whatever you ultimately conclude about its themes. 8MM is good for a laugh, but you will be laughing AT it, not with it.
A Time To Kill is a pretty tight courtroom drama, though it does descend into some rather questionable politics at the end. Other that that, it's been decades since I've seen St. Elmo's Fire. I remember thinking at the time that the characters were rather unappealing 80s yuppies.
Can't say anything from direct experience about his Batman efforts, though the Guardian's film critic seemed to suggest in the obit that they were maybe a little too childish for their zeitgeist, especially in comparison to Nolan's work. There are probably other shipmates who could comment on this better than I could.
Thanks for what sounds like first-hand insight.
Personally, I have for a while now thought of the Burton films as being light, but that might be because I'm comparing them to the Nolans, and also probably viewing them in the context of Burton's later career(to oversimplify(*), he doesn't do dark, except as pastiche).
Of course, in the late 8os/early 90s, everyone was comparing Burton's Batman to the TV show, by which measure it did indeed seem pretty dark. If Schumacher's films are as described, yeah, they'd probably seem pretty airy.
SPOILERS
(*) Big Eyes is kind of dark, but only because it deals with psychological abuse and domestic violence, rather than haunted houses and headless horsemen.
And the Penguin addressing Catwoman as "Just the [synonym for a feline animal] I've been waiting to see" was pretty anti-canonical as well!
Still, and allowing that my memory of all these films began fading pretty soon after watching them, I still think of the first two as taking place in a fairy-tale sorta world, whereas the Nolan films(to say nothing of Joker) seem set in something closer to a real urban environment, with all the grit and desolation that goes with that.
I didn't know her, but that's another organist gone too soon.
May she rest in peace.
Hmm, and Jennifer Bate too, not that long ago. Parker-Smith’s name rings a bell only faintly, but Bate was my introduction to Messiaen’s organ music.
I was just thinking a few days ago that his time would be up soon.
By my count, his career spanned seven decades, though I don't think I've seen anything by or with him predating Oh, God!
Arguably, his brand of humour, rooted in 1950s television, did not age particularly gracefully. The last time I watched scenes from The Jerk, which at the time of its release was hyped as a hip comedy featuring the hottest young comic of his day, I was struck by how it seemed to be like something from my parents' era(aka Silent Generation).
Oddly enough, I'd say Oh God! was probably the latter-day film of his which seemed most at home with its time-period, despite bring fronted by an actor previously obscure to most people under 40. And I'd say it's aged rather well, too, probably because its themes are pretty universal.
He gave credible perfotmances in the Ocean films as well. RIP.