bernardovillela

March to Disney: Introduction

Posted on March 5, 2013 by bernardovillela

Though it really kicked off in my last Short Film Saturday post, and there were Disney titles among my 31 days of Oscar selections, this is where my March to Disney theme starts in earnest.

As to the timing of this focus, that owes itself to the fact that I will be going to Disney World during this month. Naturally it would seem to be the right time to get caught up and re-focus on their titles.

A brief history of my relationship with Disney films is as follows:

So far as I can remember a re-release of Bambi was the first film I went to see on the big screen. Bambi, of course, being one of the more silent and also more marking of the Disney animated features due to the fact that it not only tells the tale of an orphaned child, but within the story includes the death of Bambi’s mother.

Aside from that I saw many of the classics countless times as a kid.

My first trip to Disney World occurred when I was fairly young.

As I grew, and started to watch films in all forms, my horizons, of course, expanded. There was the occasional Disney title that would then not interest me, and after seeing Hercules, and disliking it a great deal; I went on a hiatus.

However, I did return. Now, through my fandom of Disney, I have come to a very safe and accurate, I feel, metaphor about said fandom. If you like the product of a studio its akin to being the fan of a sports team, your loyalty does not forbid your honesty. Yes, there are things about the company in terms of business over the years, and on the creative side, that I don’t necessarily agree with. However, that doesn’t color my view of their titles I’ve seen that work for me and I enjoy.

Aside from the timing of the trip this is also a focused and concerted effort to get DVDs or Blus that I haven’t gotten to yet seen. So there will be some re-assessments, reviews and other pieces and based on what I’ve already seen. I’ll likely rank the Disney feature-length Animated films, the crown jewels in their empire.

For a number of years, namely the ones where I was off elsewhere, Disney was fairly lost. Now, however, it seems that regardless of which branch of the family tree you’re discussing they’re doing fairly well both creatively and financially. Many of the pieces I write will be on the animated films, both during and after Walt’s time, but there will also be discussion of their live action ventures and maybe some talk of the more recently acquired subsidiaries of note namely Pixar, Marvel and LucasFilm.

So my first post on an individual film should be up tomorrow. Enjoy!

31 Days of Oscar 2013

Posted on March 4, 2013 by bernardovillela

During TCM’s 31 Days of Oscar every year I like to keep a running log of what I see. It’s a great chance to check off a number of films I should’ve seen already. Aside from the selections on TCM, I will also get a handful of Oscar-Winners of my To be Watched pile. My goals this year based on my desires and TCMs structure in 2013 are: At least 31 films, 100 nominations accounted for by the films seen, at least one film represented by each studio featured in the line-up and also to keep up my guessing game tradition of not knowing what the nominations are and trying to figure them out as the film progresses.

For a guide to what my scores mean go here.

TCM Selections

1. Gold Diggers of 1933 (1933)

I remember when I sent away for a headshot of Anna Chlumsky when I was young this was listed as being her favorite movie. Recently in reading about the Pre-Code era I was reminded of this title. The opening number “We’re in the Money” became a standard, but many forget that it was a very topical Depression Era song. The musical sequences directed by Busby Berkeley are magical but by and large there is a disconnect between them, the occasional commentary and the light, escapist fare that is the thrust of the film.

I forget my guess regarding this film’s nominations, but its nod for Sound Recording is well earned as the audio is crystal clear – not always the case in this time period, as sound was still in its infancy.

Score: 6/10
Oscar Nominations/Wins: 1/0

2. Jezebel (1938)

This is the first film of this year that landed with a resounding thud to me. To get too far into it would be too give to much away. Despite the fairly good narrative flow, likely the first great leading turn of Davis’ career and seeing a young Henry Fonda, anothr great Max Steiner score, I still didn’t like the movie much at all mostly due to the narrative and the handling thereof.

Score: 4/10
Oscar Nominations/Wins: 5/2

3. The Story of Louis Pasteur (1936)

More often than not I’m leery of biopics. They tend to all fall into form in one way or another. This one, however, is an engaging tale of a scientific crusader. Perhaps what’s most intriguing is that it’s not a cradle-to-grave tale, or even all that personal; it begins in Pasteur’s career and concludes at its pinnacle. Yes, his character is shown, and some of those around him do arc, but it’s most concerned with his work, which makes it in a way far more engaging.

Score: 8/10
Oscar Nominations/Wins: 4/3

4. Who’s Afraid of Virginia Woolf? (1966)

This is an incredibly intricate and thankfully subtle-when-it-counts psychological drama. It also has an interesting approach of showing us what is seemingly your typical, bitter, drunken, couple of academia, then when their guests arrive we start to learn, slowly but surely who they really are, and the portrait painted is shocking, harrowing and really makes you think.

Score: 10/10
Oscar Nominations/Wins: 13/5

5. The Life of Emile Zola (1937)

A Paul Muni biopic strikes again, and perhaps he takes an early lead in the Neutron Star Award race for this year. What’s fascinating is that it chronicles a writer’s rise in typical biopic fashion in act one, then a military frame-up at the head of act two and has them smash together and culminate in a riveting courtroom drama. It distills the essential and best elements of a few subgenres to make a riveting and engaging film that surpasses its formulaic and periodic tropes.

Score: 10/10
Oscar Nominations/Wins: 10/3

6. The Hanging Tree (1959)

This is, as are many westerns, a gorgeously shot film. There is a culmination its ultimately building to, but there is a bit of meandering and seeming filler in the latter half of act two. Characterization for the supporting parts is fairly thin such that it seems to leave good actors like Karl Malden and George C. Scott trying a bit too hard to make sense of their living plot devices. This film has its admirers, and I get that. I think more focus on Frail (as we lose him) and a few minutes off the running time, which could easily be lost, may have had me among them. Needless to say this film’s Oscar nomination is almost instantly clinched as it’s a Best Original Song nod.

Score: 4/10
Oscar Nominations/Wins: 1/0

7. Imitation of Life (1934)

Merely being ahead of one’s time is a great in and of itself, however, that alone doesn’t make for a great drama. What’s fortunate is that for this film it has both. Imitation of Life deals with race about as openly, maturely and progressively as any film of its era – if you can fault it for anything cinematically it’s being slightly repetitious (But it addresses that), in social terms it discusses and even challenges norms. This was considered a dangerous films and Universal was strongly urged not to make it. Not only does it deal with race relations but in having Delilah’s daughter be able to pass for white, it also implies miscegenation, which was at the time one of the biggest taboos there was.

However, as I said without a compelling narrative all of the above is just a footnote. Bea’s chance meeting with Delilah snowballs in a very compelling way into a most unlikely friendship and partnership. The trials as single mothers also form dueling subplots that at times are equally compelling. The only knock I thought I had against it was that I wanted more focus on the more unusual plot, but based on the way things play out it is handled properly.

If one is not very familiar with Claudette Colbert there are likely few roles that are better for you to get to know her in. Every year, it seems, I mention that I do love the selections that have intros by the hosts on TCM. This one was a gold mine. Not only for mentioning that Colbert appeared in three Best picture nominees in 1934 alone, but also for pointing out the fact that this film likely could’ve sported two best supporting actress nominees (Louise Beavers and Fredi Washington) but the category was two years from being created.

Score: 10/10
Oscar Nominations/Wins: 3/0

8. The Lost Patrol (1934)

This film is proof positive that brevity can still cause impact and that an unseen enemy can be the most frightening. This is another John Ford film, but this one is so eerie, and builds its characters well such that the doomed nature of the mission has an even greater effect. Even Boris Karloff, in an early dramatic turn, as over-the-top as he is here, has an arc and shows the effects of the strain faced so well.

Score: 9/10
Oscar Nominations/Wins: 1/0

9. The Narrow Margin (1952)

Here’s another film with a short running time but a hell of a lot of wallop. The setup is great: cops escorting a grand jury witness cross-country to testify against a mobster. When you throw in the fact that it’s a film noir tale, you know you’re gonna be thrown for a loop quite a few times and boy does it have some doozies up its sleeve. This movie’s the kind of good that had me absolutely buzzing after it was over. Amazing.

Score: 10/10
Oscar Nominations/Wins: 1/0

10. Friendly Persuasion (1956)

This is the kind of film where a tweet reaction might seem to slight it. The synopsis does divulge what the ultimate conflict is: Quakers must decide if the go against their stated pacifist principles to defend their homes in the civil war. From that you might expect a dour, maybe even cerebral drama. While the film does face that and the temptations that modern life does throw their way often, frequently it does so in a light, comedic tone; one that is successful I might add. It does shift gears well too and some of the more dramatic moments have the desired effect. Its the pacing and space between these tonal shifts, epitomized by the climax and denouement that keep this film from being better than it is, but it is very enjoyable.

Score: 7/10
Oscar Nominations/Wins: 6/0

11. Bad Day at Black Rock (1955)

This film sets itself up so well and does things that work in its favor constantly. It deals with xenophobia, with regards to its ghost character; it deals with the stranger-in-a-strange-land trope brilliantly, with its protagonist; however, it also makes the paranoia felt in this town so palpable the lead is instantly on the defensive, such that you’re left unsure as to what his business in town is. It’s a cloistered and oddly claustrophobic tale, in what looks like an inhabited ghost town that’s well worth watching.

Score: 10/10
Oscar Nominations/Wins: 3/0

12. Father of the Bride (1950)

Having just seen Spencer Tracy I decided to make it a two-for. Now, this is a case where I saw the remake in theaters and still remember the experience. I expected this version to be different seeing as how they cast two very different leads, but I found this one so bogged down in the details and the humor usually was on the subtle side, save for the occasional loud, overlapping dialogue slapstick sequences with workers, that it just wasn’t very interesting at all. The table was set for this reaction right from the very awkward introduction of the topic of marriage. Were it not for the dream sequence, which is truly special and elevates the film, practically nothing about this film would’ve stood out at all.

Score: 5/10
Oscar Nominations/Wins: 3/0

13. The Racket (1928)

Here is one I was surprised to find was a silent. I didn’t pay attention to year on the TCM schedule and looked up the wrong information, rather I searched the remake’s synopsis. Regardless, it was a pleasant surprise that (seeing as how they were virtually identical) I chose by virtue of narrative a silent and took in stride. It was also reassuring to learn of the restoration efforts that had been made for this particular title. While it does play it coy with the nuances of the corruption at high levels of the police department and local government, this is a great treatment of a lone-cop-trying-to-take-down-a-kingpin story, which is very well done. Its also interesting to note this is one of the few films ever to be nominated for Best Picture (called “Most Outstanding” in 1928) alone.

Score: 8/10
Oscar Nominations/Wins: 1/0

14. The Lady Eve (1941)

Maybe I just ran across this film at the wrong time, or maybe this particular story is just not for me. I’ve seen and appreciated other films that could be categorized as screwball comedies, however, even in that subgenre it is possible to get too ridiculous for its own good. The film was already dragging and losing me and then my ability to suspend disbelief was completely shot by a significant plot development. One so insane that it’d be hard to salvage, even if this film was very funny, which I really didn’t find it to be.

Score: 4/10
Oscar Nominations/Wins: 1/0

15. Way Down South (1939)

This is a film that’s another re-screening. I first saw this film as a rental, quite a while ago from Movies Unlimited when they were still in the brick-and-mortar rental game. I also believe it was the first Bobby Breen film I saw, and one of his last at that. Breen was one of those musical stars that had films custom made for him. How good or bad the films he was in usually hinged on how naturally the opportunities for him to unleash his voice were folded into the plot. In thematic terms, it may be the most dated of his films dealing with a boy who loses his father, a “benevolent” plantation owner, the executor of his father’s will is now to sell off all the families assets, slaves included. In this context the lead acts heroically, trying to save the first whose threatened with being sold, when they’re all threatened, and families will be split up; other remedies must be found. Perhaps what’s most surprising in this viewing was I had forgotten how chillingly amazing Breen’s rendition of this spiritual is. It may not be the best film he was in, I’d argue the melodrama Make a Wish was, but it may be the best showcase of his singing talent.

Score: 8/10
Oscar Nominations/Wins: 1/0

16. Seven Days in May (1965)

The old expression is that “The world will end with a whimper rather than a bang,” and this film treats a coup d’etat in much the same way, which is really what makes it so effective. This is a film written by Rod Serling, and if I wasn’t informed beforehand, I may have guessed. It certainly bears his indelible mark of great dialogue, taut situations and Twilight Zone brand eerieness, made even more effective by how plausible it all seems, especially set against the backdrop of the upheaval in the 60s and the cold war panic that resurged in the wake of the Cuban Missile Crisis. It’s a highly effective tale of political intrigue that is engaging precisely due to its restraint.

Score: 8/10
Oscar Nominations/Wins: 2/0

17. The 5,000 Fingers of Dr. T (1953)

This is a film that contains no shortage of Easter Eggs, oddities and charm for me personally. The first, and most surprising thing for me, is not only is this an original screen idea by Dr. Seuss, but one I really connect with. Even as a kid I was never really into Dr. Seuss at all, quite the contrary, but on occasion I will find a tale that sneaks by and I enjoy and this is one. Next this film features Tommy Rettig pre-Lassie and he’s perfectly cast and has quite a bit to carry aside from singing he also breaks the fourth wall and narrates the tale. The villain, played by Hans Conried, struck me as familiar. As the film started, I knew I had heard that voice. Sure enough I was right, and guessed it. I heard that voice a lot as Disney’s Captain Hook. Almost immediately I pegged this film as a one nomination film and having fallen in love with the production design thought it’d be that, it was the score which is also good. It merited multiple honors in my estimation. Part of the point of doing and Older Films list is when you stumble on these oddities that you connect with unexpectedly. This is definitely a highlight.

Score: 10/10
Oscar Nominations/Wins: 1/0

18. From Here to Eternity (1953)

Much in keeping with a theme above, here you have a title that is typically classified, or at least described by some, as a war film. While it takes place on a military base, during the second World War, much of it takes place before the US enters the war and it’s not really about the war at all; it’s about its characters. It’s not only about them in a superficial sense either; it’s concerned with their love and loss, but it also, through showing how they react to diverse situations, provocations and set-backs espouses their philosophy without saying it outright. It’s the kind of film that’s easy to get preachy with and it avoids that temptation beautifully. It doesn’t ascend for me quite as much as it does with others, but it strikes me as one of those films that is unimpeachable. I can’t hold anything against it to downgrade it save that on a visceral level I didn’t connect with this film as strongly as I wanted to. It did highlight to me the shocking fact that somehow the Academy never saw fit to have Montgomery Clift win Best Actor.

Score: 8/10
Oscar Nominations/Wins: 13/8

19. Bob & Carol & Ted & Alice (1969)

This is a film that strikes me as a great performance piece, but not the best possible execution of the idea. It has its comedic moments, its dramatic moments and all the acting is strong it just feels a bit sparse at times. The subtext is there and bubbles over, but the aftermath seems a bit unsatisfactory, and truth be told the path there isn’t that brilliant. The film may be a bit ahead of its time. Some of the paired scenes seemed precursors to Scenes from a Marriage, only trying more humor, not as tightly written and inferior.

Score: 5/10
Oscar Nominations/Wins: 4/0

20. All-American Co-Ed (1941)

What an impossibly silly film. I will readily admit that part of the intrigue in seeing this film is that it’s short. It actually clocks in at under 50 minutes as opposed to the 51 listed on the IMDb. Thus proving the 40 minute plus rule the Academy has for features does have a place. Its nominations are musical and that portion of the film is fine. The premise is admittedly silly, but for a story that’s not going anywhere too far away it takes its time getting there, and gets bogged down in silly bits, such that the climactic sequences are a cacophonous blur. A great footnote is that I missed the TCM airing but found the film on the great Internet Archive.

Score: 5/10
Oscar Nominations/Wins: 2/0

20. Way Out West (1937)

I love Laurel and Hardy. I’m not sure how many of their features I’ve seen. I do fondly recall watching their shorts on weekends growing up. Overall this movie is good. I haven’t the heart to dislike one, but this one does bug me in a serious way because the bamboozlers make one too many bad mistakes right at the beginning that should have been caught. Aside from that, the film is fine and has some hysterical sequences. The Oscar nomination is for scoring, which is truth be told, is pretty special. I do like that the Academy had a proclivity for recognizing comedic scoring earlier on. It’s definitely worth a watch for fans who haven’t seen it I would introduce them with it though.

Score: 7/10
Oscar Nominations/Wins: 1/0

21. Victor Victoria (1982)

There are givens in this film: Julie Andrews is great, the intelligence of the dialogue that ensues regarding gender and sexuality is sparkling, the music is toe-tapping. The film is highly entertaining. I’m not sure if its part of the slapstick that the illusion of Victoria being Victor isn’t sold more say with more fitted clothes, shooting in black & white or any number of methods, but that does allow for some distraction in frequent buffering of your suspension of disbelief, wherein you have to convince yourself that most of the unseen masses in this fictional land buy the illusion. It’s a small thing that snowballs into a bigger one, but it’s still a good film that should be seen and discussed more than it is.

Score: 7/10
Oscar Nominations/Wins: 7/1

22. Saraband for Dead Lovers (1948)

I like to try an avoid cliches at all costs, however, when I watched this film what came to mind was the thought that if you looked up “stuffy costume drama” in the dictionary you’d find a photo of this film. Yet, there was still something about it that oddly kind of worked for me. What I think made it connect is that it was a British production with a more classical, yet more restrained acting style than I’m accustomed to for the time period. Take the same plot points and similar performances and place them in a Hollywood studio era production and it likely feels flatter than it is. Here, somehow, it retains some buoyancy. The restraint doesn’t feel forced and similarly pumping up the melodrama would seem unnatural and inappropriate.

Score: 6/10
Oscar Nominations/Wins: 1/0

23. The Circus (1928)

Unlike when I was watching Monsieur Verdoux, I received no confirmation that I had seen this film before. Some parts of it felt familiar, but I believe it was for the most part new. It’s a sweet, brisk, funny and refreshing tale that builds its characters as much as the comedic situations, which he can get into with ease. This film is silent, but is one that I consider to be during the beginning of Chaplin’s slow transition into the world of sound, which makes it standout as a silent film with a locked in score, which as you watch more of them you realize is very rare.

Score: 9/10
Oscar Nominations/Wins: 0/1 (Won Honorary Oscar “For versatility and genius in acting, writing, directing and producing The Circus. Though nominated for best actor, the academy decided to remove Chaplin’s name from the competitive classes and instead award him a Special Award” Kind of a back-handed complement, not sure why he needed his nomination removed when the honorary award decision was made.)

Films in My Personal Collection

1. Treasure of the Sierra Madre (1948)

What’s best about this film is that it essentially tells you what’s going to happen to these characters early on, then you see it happen and it still manages to be very riveting because it becomes about the characters and stays that way. It’s a brilliantly rendered character study. I was not surprised in my guessing game that I was close to picking how many nominations this film was up for. What shocked me is that Humphrey Bogart wasn’t nominated, when he’s virtually unrecognizable by the end of the film in appearance and demeanor. I saw this on Blu-Ray and selected the Warner Night at the Movies presentation which plays a newsreel and two shorts before the film. I recommend that treatment for all film geeks so you get a taste of moviegoing in 1948.

Score: 9/10
Oscar Nominations/Wins: 4/3

2. Pocahontas (1995)

When you watch films in runs and themes, you welcome any chance that will allow you to kill two birds with one stone. Considering that I plan to write about Disney films in March, screening some now will give me a jump on that and there are some titles I have been missing, as much as I like Disney. My complicated adolescent relationship with the company and more detailed thoughts on this film will follow, for now suffice it to say: Disney did some different things that worked here, it was treacherous ground they covered and for the most part it’s very well done.

Score: 8/10
Oscar Nominations/Wins: 2/2

3. The Hunchback of Notre Dame (1996)

Due in part to the fact that I just didn’t know very much about this title, I expected less from this Disney selection than the above, but in the end I liked it a lot more. It does things a little differently in the end, and with regards to anthropomorphism, but it goes back to the theme of ostracism and has a solitary character effectively drawn, literally and figuratively, that really make this film work. It also by its nature takes on aspects of religion and racism with a lot more finesse than you’d ever expect out of a Disney film, which makes it highly underrated in my mind.

Score: 9/10
Oscar Nominations/Wins: 9/1

4. Citizen Kane (1941)

Now before you go into a tizzy, yes, I have seen Citizen Kane. I have an old review of it I may post, but that’s not what I’m going to do here. Since I’ve seen it, and just saw it for the first time on Blu, I wanted to address some common talking points about the film.

1. I love Citizen Kane. It’s one of my favorite films. I viewed it on my own before I studied film formally and no one “made me like it.” I connect to it. I can distinguish between what I like and important and or well-crafted works and grudgingly acknowledge some films as important, or milestones, though I personally dislike them. That is not the case with me and this film.

2. It is not shocking to dislike this film, you won’t get a rise out of me if you say so. Aside from the fact that everyone’s taste is their own business, I can see how this one may not impress you, but save it.

3. Don’t hold Citizen Kane against How Green Was My Valley because it won Best Picture not Kane. How Green Was My Valley is a very good movie indeed. It is not Citizen Kane, because it has not desire to be so. Please try to gauge that film in a vacuum and don’t hold its Oscar win “against it.” The fact of the matter is Welles made a lot of enemies, which made the rest of his career a struggle and I’m sure there are myriad Oscar stats that will show you films that only won for Screenplay and who got a boatload of nominations and are virtually shutout. And in conspiratorial terms, Hollywood wasn’t about to crown Welles “king of the world.” In other words, something was gonna beat Kane that year, and in the estimation of many it was a loaded field.

Those are probably the three biggest ones. With regards to 31 Days, since I saw it before adding it to the total is kind of cheating but I’m on good pace and hope to be well clear of 31 films and 100 nominations, and I hadn’t see the blu-ray transfer yet. P.S. If you are a fan buy it, it’s a great box.

Score: 10/10
Oscar Nominations/Wins: 9/1

5. The Magnificent Ambersons (1942)

Now, since I included Kane, which I’ve seen, I’ll include this too, since it’s a cheat and I barely consider this a re-screen as I napped, thus preserving myself for the new film screened. I include it, again, to provide a few more thoughts on Welles’s work here:

1. It’s sad that you can almost see the scarring on the film from RKO’s over-zealous and over-involved cutting of this film. My score below is the one I originally logged on the IMDb upon originally seeing it, and that may be a bit too harsh but it does reflect the fact that we’ve been robbed of a truly masterful work over the years.

2. In a sort of wish fulfillment, I hope that by saying this often enough it one day comes true: May Welles’ cut of this film, the now holy grail of lost versions, surface one day.

Score: 6/10
Oscar Nominations/Wins: 4/0

6. Blossoms in the Dust (1942)

This was actually I found in a drug story on Oscar Day in 2012, this was after my having missed this on a TCM broadcast. This film is part of Greer Garson’s legendary run of five consecutive Oscar Nominations for Best Actress and six in seven years. Yes, this film doesn’t get away with not having its stump-speeches and it does give a classical Hollywood whirlwind treatment to and elongated tale, but it is so tremendously moving and gorgeous to look at. Watch it for the the acting, watch for Karl Freund working in color and stay for the tale, which when it really has to, when it wants to hit home, holds up just enough. It took me a while to get this one off my to watch pile, but it certainly was a memorable viewing. There are plenty of jaw-dropping moments in the film. I also learned a few things so it has the righteous indignation angle working for it too.

Score: 10/10
Oscar Nominations/Wins: 4/1

7. Anna Karenina (2012)

Yes, this is a very new selection, but I just got it on Blu-ray and I had to see it during 31 Days because not only was it an Oscar winner, but one of my favorite films of 2012 and cleaned up quite a few BAM Awards. The only new item of note is that this does strike me as a film that is far more impressive and imposing on a big screen. I wish more had seen it as such.

Score: 10/10
Oscar Nominations/Wins: 4/1

Total

Total Films: 30
New Films: 26
Total Oscar Nominations/Wins: 109/31
New Nominations/New Wins: 90/30

Conclusion

The film per studio goal was the first that fell by the wayside. I am forever in search of a theme that is the ultimate. I think one year was categories, which was quite good.

I came my closest to a 31 Film total ever. The ideal is to have them all be debuts, 26 were. So depending on how you slice it I either exceeded the nomination goal or fell just short. However, I found some very strong previously unseen films this year, which should make scheduling next year more challenging/fun to schedule.

Lastly, I will spare my DVR some room, but I will salvage a few films I missed to see at a later date.

Short Film Saturday: Three Little Pigs (1933)

Posted on March 2, 2013 by bernardovillela

For this Sunday I had two niches to fill. It’s still within 31 Days of Oscar, but also March marks the beginning of a focus on Disney films. So here’s a short that’s by Disney and won and Oscar. Not only that it’s in the National Film Registry, and was actually one of the great successes of 1933. “Who’s Afraid of the Big Bad Wolf?” was a hit record and the short, at the time anyway, broke a record for most prints struck. It hit a nerve with Depression era audiences, adults namely, that it never did with kids. For at the time the threat of something big and bad coming to blow your house down was a rather real threat. This link isn’t only inferred. However, even if you strip away that context which, of course, I didn’t have when I was young, it’s still highly enjoyable.

Once Upon a Time in the 80s: Music Videos (Part 9 of 17)

Posted on March 1, 2013 by bernardovillela

This is a recapitulation of a paper I did in college. This is part eight in the series to read other parts go here.

The music video of all visual art forms probably had the shortest period of time where it was a true art. If you look at music video now it becomes more and more rare to find one that attempts to portray some kind of narrative it has become what the artists originally feared merely a showcase for a song and an artist who looks like they should be an actor. The 1980s, however, offered some very unique and experimental ventures in this new medium. 

MTV, which once upon a time stood for Music Television, launched in August of 1981 and it debuted with one of the better videos they ever aired called “Video Killed the Radio Star” by The Buggles. Artists debated the intrinsic value, or lack thereof, of music videos Hall & Oates were opposed to them and Madonna was in favor of them citing that musicians when on stage acted and this was just a different medium. Fitting that she would make such a statement because Madonna was a pioneer of the video every bit as much as Michael Jackson. 

If pressed to find an end for the music video as an art I’d point to Milli Vanilli’s efforts in 1989. They were two dancers who were hired by a record company to lip-sync their way to fame. They won a few Grammies and were found out in 1990. After that point the packaging was no longer hidden and videos became less and less about anything but putting visuals to a new single. But the music video was already a staple and here’s how it came about. 

Experiments like David Bowie’s “China Girl” soon became more refined, and even cinematic, like Madonna’s homage to Marilyn Monroe in “Material Girl.” There was the irreverence of The Cars in “You Might Think” and then there were masterworks in the genre as well. One of the best videos of the 80s is undoubtedly Billy Joel’s “Pressure” it’s a visual romp, with images that add to the despair and, well, pressure of the lyrics, nothing is really explained by the lyrics and the images don’t mimic the song. It’s truly great. Billy Joel also managed to cram all of Americana since the 1950s in a three minute video for “We Didn’t Start the Fire” it is such a kaleidoscopic approach to a song which is literally going over world events while we get the portrait of a household changing while the world around it burns down. 

Michael Jackson’s “Thriller” is probably the most important video in music history. It was treated and packaged like a film. Jackson got John Landis (An American Werewolf in London) to direct it and there was even a making of special. Nearly all of Michael Jackson’s other videos are better but this is the one that set the stage for how he approached them. It is labels and artists merely only looking at his videos as singing and dancing numbers that have bred a lack of originality and the pathetic state of the music video today. No one has to given as much thought to narrative and production since and are only concerned in the superficial most of the time, unlike Jackson. 

Madonna, meanwhile, love her or hate her, has always been doing something different. In the controversial “Like a Prayer,” she falls in love with a modern day martyr who is accused of a crime he didn’t commit. In “Open Your Heart,” she’s a stripper who becomes a boy’s obsession, in “Express Yourself” she leads a revolt in a video that was based on Fritz Lang’s Metropolis, in two videos shot in black and white “Vogue” and “Oh Father” she takes two different approaches celebrating sensuality in one and lamenting a death in another. 

If and when another media savvy and quality performer comes about the music video may be revived. It is still an art form with a great deal of potential to entertain because by its very nature it combines two of the most powerful elements in entertainment: music and the motion picture. The music video is for the most part a marketing tool, but every once and a while it does spasm and let a bit of art come out.

Don’t You Recognize Me: Andrew Lincoln

Posted on February 28, 2013 by bernardovillela

Don’t You Recognize Me? will be a sporadically posted theme wherein I briefly highlight an early role of a now well-known actor. Typically, it will be one where I didn’t immediately make the connection, hence the title.

This one wasn’t a realization I came upon unassisted, thanks to a tweet by Richard Roeper for that assist, but first a little back story.

As of this writing, I have now read, through trades, the equivalent of the first 102 issues of The Walking Dead in comic book form. When I do read it, it’s been in binge mode. So I held off on starting the TV series until this year. I started watching the series in early January and am now current.

With such a heavy watching schedule, I didn’t look everyone up on the IMDb, but Andrew Lincoln, who plays Rick, did seem to have a familiar face.

Then late the other night Richard Roeper tweeted a reference to where I knew him from. He was the guy desperately in love with Keira Knightley in Love Actually. Funny thing is now that I did check his IMDb, I see why I missed the connection.

It was literally the last thing I saw him in. Since then there were a few movies I knew of, but didn’t see, and many TV series that are unfamiliar to me. Love Actually was one of my favorite films in 2003 and one I viewed repeatedly, but it’s one film I had to reacquire as it seems to have vanished from my collection. I’ve not revisited it in some time so, in the haze of memory and all the other faces in that film I already knew, he got lost in the shuffle.

So the next time I pop in Love Actually, probably around Christmas, the “Where are they now?” game will be quite the interesting sidebar: Knightley, Nighy, Firth and Rickman have since won BAMs for other works; Thomas Sangster, believe it or not is the voice of Ferb on Phineas and Ferb, Liam Neeson has since developed his badass persona, and of course, Lincoln is on The Walking Dead just to name a few.

It was quite the sudden realization because as soon as I read the tweet I knew the scene in Love Actually referenced and I could see his face, and it crystallized. In the end, the interpretation of Rick on the show is a different one both physically and in some other small aspects. They’re not identical by any means, but they’re both Rick Grimes, which is a testament to both series staying true to their form.

2013 BAM Award Considerations – February

Posted on February 28, 2013 by bernardovillela

Last year I had one massive running list and it became very cumbersome to add to, and to read I’m sure. By creating a new post monthly, and creating massive combo files offline, it should make the process easier for me and more user-friendly for you, the esteemed reader. Enjoy.

Eligible Titles

Warm Bodies
Hansel & Gretel: Witch Hunters
Night Across the Street
Be My Valentine
A Good Day to Die Hard
Escape From Planet Earth
Arcadia
Nicky’s Family
Identity Thief
Dark Skies

Best Picture

Warm Bodies

Best Foreign Film

Night Across the Street

Most Overlooked Film

As intimated in my Most Underrated announcement this year, I’ve decided to make a change here. Rather than get caught up in me vs. the world nonsense and what a film’s rating is on an aggregate site, the IMDb or anywhere else, I want to champion smaller, lesser-known films. In 2011 with the selection of Toast this move was really in the offing. The nominees from this past year echo that fact. So here, regardless of how well-received something is by those who’ve seen it, I’ll be championing indies and foreign films, and the occasional financial flop from a bigger entity.

Night Across the Street
Nicky’s Family
Escape From Planet Earth

Best Director

Jonathan Levine Warm Bodies
Nicky’s Family

Best Actress

Teresa Palmer Warm Bodies
Natalie Brown Be My Valentine
Ryan Simpkins Arcadia
Melissa McCarthy Identity Thief
Kerri Russell Dark Skies

Best Actor

Nicholas Hoult Warm Bodies
Sergio Hernandez Night Across the Street
John Hawkes Arcadia
Jason Bateman Identity Thief
Josh Hamilton Dark Skies

Best Supporting Actress

Analeigh Tipton Warm Bodies
Valentina Vargas Night Across the Street

Best Supporting Actor

Rob Corddry Warm Bodies
Christian Martyn Be My Valentine
Ty Simpkins Arcadia
J.K. Simmons Dark Skies
Robert Patrick Identity Thief

Best Performance by a Young Actress in a Leading Role

Ryan Simpkins Arcadia

Best Performance by a Young Actor in a Leading Role

Ty Simpkins Arcadia

Best Performance by a Young Actress in a Supporting Role

Leah McPherson Be My Valentine
Alea Sophia Boudodimos Hansel & Gretel: Witch Hunters
Annie Thurman Dark Skies

Best Performance by a Young Actor in a Supporting Role

Christian Martyn Be My Valentine
Siam Yu Be My Valentine
Alec Bourgeois Warm Bodies
Zavier Vaillancourt Warm Bodies
Cedric Eich Hansel & Gretel: Witch Hunters
Ty Simpkins Arcadia
Dakota Goyo Dark Skies
Kaden Rockett Dark Skies
LJ Bennett Dark Skies

Best Cast

Warm Bodies
Be My Valentine
Arcadia
Dark Skies

Best Youth Ensemble

Hansel & Gretel: Witch Hunters
Be My Valentine
Arcadia
Dark Skies

Best Original Screenplay

Dark Skies

Best Adapted Screenplay

Warm Bodies

Best Score

Warm Bodies
Night Across the Street

Best Editing

Warm Bodies
Night Across the Street
Nicky’s Family
Dark Skies

Best Sound Editing/Mixing

Warm Bodies
A Good Day to Die Hard
Dark Skies

Best Cinematography

Warm Bodies
Hansel and Gretel: Witch Hunters
Night Across the Street
Dark Skies

Best Art Direction

Warm Bodies
Hansel & Gretel: Witch Hunters
Night Across the Street
Identity Thief

Best Costume Design

Warm Bodies
Night Across the Street

Best Makeup

Warm Bodies
Hansel & Gretel: Witch Hunters
Night Across the Street
Identity Thief

Best Visual Effects

Warm Bodies
Night Across the Street
Dark Skies

Best (Original) Song

Wiegala Nicky’s Family
A Song from Nicholas Winton Nicky’s Family
“Shine Supernova” Cody SimpsonEscape from Planet Earth
“Doom and Gloom” The Rolling Stones A Good Day to Die Hard

What Should You Want a Franchise to Do Next?

Posted on February 27, 2013 by bernardovillela

I cannot say I’m a die hard Die Hard fan, not just because that’s a pun, but also because it’s true. However, what the chatter about the latest Die Hard did reveal to me is that even in disappointment, which is the fairly universal reaction to the latest installment, there are different grades of frustration. Furthermore, differing thoughts on what the future of the franchise should be by those who hold it dear.

Essentially, what struck me as most interesting to write about was examining the logic of differing plans through the spectrum of my feelings on other series’.

One of the first I heard can be succinctly described as “Ain’t Goin’ Out Like That.” In other words, “Why end the series on a sour note?” However, if I were to apply that to a series I truly liked there would need to be something that I wanted to see salvaged. Because on the surface it can seem a contrarian statement to say “Man, that wasn’t very good, they’ve got to make another one.” However, I do get the sentiment. I think a series in my mind that has gone off course but can still be righted is say the Final Destination films. So far as Die Hard goes, I don’t think a third generation is an eventual solution or becoming further spy-oriented. Again, not a die hard, so I won’t over-speculate.

As opposed to continuing and just fixing the story, another reaction that’s possible it to want to go back to square one. I doubt this would be satisfactory to Die Hard fans. I know it’s a course of action I would accept as a fan of the Hellraiser concept and works wherein Barker was involved, that series is so far from healthy, restarting is the only way to come close to his intention for the character. Especially when the last film prompted Barker to respond that this particular plot it didn’t even come from his a-hole much less his mind, one wonders how worried about being true-to-form Dimension really are. In Die Hard terms, I find it hard to believe an attempt that doesn’t involve Bruce Willis would be made any time soon. The reboot option may only come when he’s really, really old and plays a humorous cameo wherein my generation and those above can tell the youngins that he made the first one and it was better.

So righting the ship and a reboot are options, but not viable ones in this series. The other two options that are theoretically possible would be a prequel, which also doesn’t makes sense here, and just ending it. These two seem to be the two hardest options to accept when your the fan of a franchise. Usually my litmus test about a prequel, or a tale in the same realm being told, is involvement of the originator of the series, like if Rowling pursued other wizarding stories or pursued a new strand of tales with her triad.

Another determining factor is: is there room for narrative growth? Lucas had plans for more Star Wars, so now that the decision about proceeding on a new installment belongs to someone else; it’s happening and that’s fine by me. The reported stand-alones are too. The differentiation between the Star Wars and Harry Potter properties is one of time and ownership. So far as we know, lest we get new indications otherwise, Rowling’s world-building is complete. Lucas’ plan was always longer.

Few franchises have a grand design, and that prompts many follow-ups to come about due to responding to questions such as “Well, why not?” or “Well, what now?” Those with a grand design seem to have more staying power, and those who are consistently trying to re-invent the wheel are gambling more.

In the end, I believe “The Ain’t Going Out Like That” school should be the one we feel a film falls into least. A desired abandonment, as nihilistic as it may sound, could be the preferred reaction to most disappointing late-franchise sequels. The cessation of installments ends the false hope, that no matter if we know better, that part of us always holds onto believing that an intangible piece of the first film’s magic will come along into the second, third, fourth and fifth. So perhaps rather than wanting it to be fixed perhaps a franchise we feel is broken should be left alone until it heals or dies.

Film Activism

Posted on February 26, 2013 by bernardovillela

The term arcmchair activism has recently come into being and while it may sound like it has a negative connotation, it can get things done. Online petitions and chatter have brought about small changes in reaction to public relations disasters. The only downside I’ve seen of this activism is that for the most part it seems to be extremely reactionary. What I’ll propose in this post, or these posts as the case may be, is more of a proactive approach.

There are good causes in the film world where your support is easy to show and it could make a difference. So here are the three that came to mind for this first post.

Greed on DVD

I’ll readily admit that what prompts me to think of this right now is my heinous mismanagement of my DVR, wherein I lost my unwatched copy of Greed from when it aired on TCM last year.

Any film, not on DVD, has a vote prompt on TCM. The votes tally up and a rank is presented. It’s concrete data, though a small sampling, that shows an interest in the film exists. Film, like most everything, is a demand economy. Go here and vote for a Greed DVD release. Or better yet, search your favorite currently undistributed or under-distributed older film and vote for it in its stead.

“Save” films on Netflix

Even before Netflix was facing stiff competition from other streaming sources, its policies about acquiring and distributing indie films shifted. They have been more inclined to stream them but in general terms it does take into account how often you save to your queue before deciding whether it’ll pick a film up. I save many films to my queue just to get it out there at times.

One of my favorite films from last year, In the Family, which has been traveling North America for the better part of two years will finally hit home video in May, so it needs this support. If the story appeals to you please do save it and help this great story be seen by a wider audience. As with above, if this title doesn’t work for you consider this method with another film.

Bakshi Kickstarter

Ralph Bakshi is a renowned and respected animator. I’ll admit not knowing him by name until recently. I haven’t seen many of his films, but I think many saw his animated Lord of the Rings. The character design of the Hobbits irrationally freaked me out when I was very young. I know some of his other titles and have had them on my nearly-infinite watchlist for some time. I’ve always known, even if not knowing him by name, that he was on the forefront with regards to rounding out animation proving it to be a medium rather than a genre; meaning it’s not just for kids.

He is also one of the more renowned artists I know of who is using Kickstarter to fund a project. It becoming a more popular avenue. It’s not a free option, but if you know a deserving artist this is a good way to go.

So there are the first three concrete and easy ways I found to be a film activist. There will likely be others, seek them out, find something you’re passionate about and support it. The interwebs is great for that too!

Hero Whipped: Richie Rich

Posted on February 25, 2013 by bernardovillela

It’s been a while since I’ve done a Hero Whipped piece and I was considering this idea and several others to liven things up. If you’ve not read one of these posts before. Since the introduction the focus has been on one character, one who appears in comics but usually in many kinds of media, including films, of course.

With regards to Richie Rich there are really quite a few avenues of my return to comics, not to mention that but also the relationship between comics and film, which I can touch upon here. Before getting to a specific case study, which is where this post will differentiate itself. I’ll go through a bit of character history, as well as personal history with the character.

Histories

Richie Rich is one of the characters I grew up with when I was first reading comics before I abandoned them. The fate of his character and Harvey Comics was one of the hard truths I had to come to terms with upon returning to enjoying the medium after about a decade and a half hiatus.

Now, he and other Harvey creations aren’t exactly dead in the water. Harvey Comics met its demise not too long after the release of the Richie Rich film. It was second major film project based on their characters and ironically, the single-issue adaptation of the film’s story was actually released by Marvel, and that’s where the case study will come in.

Since Harvey went under the characters of their universe have undergone quite a journey. They were reprinted in a series of collections, most of which are now hard-to-find, by Dark Horse Comics.

However, that didn’t last long, but Richie Rich has been revitalized through Ape Entertainment’s Kidzoic label. What Ape, with aid of the old hands that are still with us, have managed to do is that they’ve modernized the character in appearance, behavior and plot, but kept Richie’s essence the same. Through Rich Rescue he still gets into capers but the tales are more formalized and less random. He rings a bit more true but is still essentially a good kid, and not the spoiled silver spoon baby one would expect. Reggie, his antagonistic cousin, is a bit more rounded. The art is also more malleable inasmuch as there are reprints/recolorings of old tales as well as new stories with classical design of the characters.

Then last year, Classic Media, which is the company that took control of the intellectual property of Harvey and a couple of other companies was purchased by DreamWorks. This development is great for the future of these characters. Firstly, it doesn’t seem like right now it’ll endanger rekindled comic adaptations (while Star Wars comics will migrate to Marvel, comics based on Disney’s characters remain entrenched at Boom Studios, and Disney has never really had a proprietary brand) I don’t foresee DreamWorks or Classic Media entering the fray either, but do believe Spielberg/DreamWorks will try and build upon his investment, and considering he was executive producer on the first Casper cinematic incarnation, other films may be in the offing.

The Harvey Universe would be a prime candidate (and this could be a list at some point) for a motion capture treatment in the future.

Which brings me to the specific.

Case Study

Before I revisited, and read Richie Rich more voraciously than I ever had before my departure from comics, I hovered around what was in part wrong with the film version. I think if I saw the film again, I’d still like it but there’d be similar issues for me.

Culkin (and here may be another list ranking his films) was not necessarily the wrong choice for the part, but the part was written more to suit him than the character, there’s the occasional precociousness and snark that’s really not Richie. There’s that origin of meeting his friends where the trite envy is built in where the greedy adult world is really what’s supposed to be the enemy. Richie, his father and mother are fictitious, altruistic billionaires that are all childlike counter-capitalists in their desire to always do right over what’s profitable, yet, due to their virtue always come out swimming in money. This nuanced tonality, even with some similar dialogue and plot points comes through a lot better in a comic version of the film tale because the performances are my interpretations through reading rather than being presented a concrete interpretation onscreen.

Granted some of this commentary runs counter to some of my fanboy advice, but it’s a lot easier to avoid these pitfalls when there are multiple cinematic versions to fall back on. With Richie Rich there’s just this one major film and the TV show. It’s still a better more complete film than the latter TV project Richie Rich’s Christmas with David Gallagher, but a more creative dynamic with thew friends and perhaps someone like Elijah Wood in the lead would’ve worked better.

With recent sociopolitical developments the atmosphere’s right for a new, more mature, dare I even say deep, handling of this character. The time has definitely come I think for a screen return of some kind and a continued proliferation in comics for Richie Rich.

The 85th Academy Awards

Posted on February 24, 2013 by bernardovillela

So to spare my friends And followers on social media I’ll be live blogging the Oscars here.

Thoughts may be more sporadic this year.

Red Carpet/Pre-Show

George Clooney is just naturally funny. Great stuff.

Audio issues. Yikes.

Once I heard Anne’s guess (about the mystery item) I knew she was right. That’s the first time she’ll win tonight.

Not sure it’s a gimmick that should stay, but an interesting wrinkle for this year.

Watched the countdown clock more than ever. That was an ordeal.

I wonder if Hugh Jackman gets tired of being referred to as Wolverine. He’s not actually Wolverine. He just plays him in the movies.

Didn’t see enough red carpet to pick a best dressed.

The Show

Love the profit joke and the Ben Affleck obviously.

Shatner!

Well, I expected sporadic updates just because I wanted to watch but that opening was spectacular!

Excellent speech by Waltz.

Got the first shot of Jack and the mandatory playing of the E.T.
theme in segment one.

Animated short was no surprise. I had a feeling it’d be nominated since I saw it.

Brave winning actually did surprise me. It was rather divisive and I was lukewarm on it. Animated films are deep right now, there were other viable winners, and better ones in my estimation.

Well, I expected those two to go to Pi. Miranda’s speech was memorable. The Rhythm and Hues comments by the VFX team had to come earlier. I expected them. Using the Jaws theme to play them off was just too funny.

Hair and Costume winners are always tough to figure. Very pleased with the results. Glad to see Anna Karenina get some love.

“Goldfinger” sounded amazing!

So the shorts just got announced. I didn’t see the short subject docs, but it was a good opportunity for an apropos stump speech.

As per usual, it would seem, my favorite live action short didn’t get the win. It makes Death of a Shadow even more marked in my mind. It’s a short I’ll remember.

Didn’t see any of the Feature Documentaries. Based on buzz I was expecting Sugar Man.

I know Affleck tried to pass it off as a joke, but he sounded kinda ticked off by the stupid Kardashian joke. I mean, I laughed, but I agree with MacFarlane, likely should’ve been dropped.

Had to wait 2 segments to update.

Thankfully, they had three musicals to draw upon for the past decade tribute. Musical theme plus Seth MacFarlane makes perfect sense, but musicals aren’t as prominent as they once were, clearly. They can still clearly work the Tatum-Theron dance was great at the start.

Obviously Les Mis would bring the house down. When you record live those songs live with you forever.

I don’t know the last time, if there ever was a tie, but that’s surely a historic moment. Glad that Skyfall, an action film took one of them. It’s a really well done work.

Argo owes much of its success to the edit. It moves along brilliantly. It’s not just about shot selection and cuts, but also pace. It’s a thriller at its core for all its other fenestrations, and it needed that edit to succeed.

Glad to hear “Skyfall” during the broadcast. Performing all the songs got too routine, but combining a Bond theme and allowing the song to be in the broadcast is definitely a highlight.

The Governors Award winners for this year is a varied field and a good one. Most notably to me is George Stevens, Jr. I was unaware he founded AFI. I staunchly support any organization that promotes and preserves film.

I was pulling for Anna Karenina again, but Lincoln winning the newly re-named Production Design is fine with me. Lots of great sets throughout bring that world to life.

The In Memoriam was well-handled. I hadn’t thought ahead to it. Amazing surprise having Streisand come out and sing in honor of Hamlisch.

So I was off and they added one more performance, the Norah Jones song in Ted</em that I'd forgotten about. A little awkward to go from saying you saw two, here's video of two more and another live. I thought it a toss-up between Skyfall and Les Mis. Glad Skyfall took it though. It’s an intrinsic and quintessential Bond song.

Best Original Score not my favorite choice of the night. Coul’ve picked any of the other four in that one and I’d be happy.

I was pulling for Lincoln but fully expected Argo.

However, the highlight of the screenwriting tandem was Quentin getting it. Right before it was announced I pleaded “Come on, this is the one other thing it can get!” It was likely my favorite win tonight because I shouted with glee. I didn’t expect it to happen.

OK, weird footnote: Ang Lee has now won Best Director twice. Will he have that distinction with no Best Picture wins? Life of Pi won in categories I expected it to until recently. Is it a fourth front-running candidate for Best Picture?

Very cool that Jack came out for Best Picture. And as for Michelle Obama announcing and speaking via satellite, great message.

So it turns out that quirky footnote happened. Argo won as the tea leaves have been showing.

I think the closing song would’ve worked better if both were former nominees who didn’t win.

Conclusion

I expected many of the awards but it was a greatly entertaining show. Unlike last year where I gave it a pass, I was biased here, being a MacFarlane fan and he delivered. He even got to get his favorite Sound of Music gag in, which I think is great. Basically, the new paradigm should be, regardless of sensibility, treat it like it’s your only shot to host. He and the writers knowledgeably poked fun at Oscar trends and patterns and occasionally ruffled feathers. It was great fun, especially as the musical theme gave it that air of gaiety and celebration.

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