Do The Right Thing -- Stand Up For Excellence
September 25, 2024
I Would Have Preferred A More Challenging...Okay, A More Insulting Tone
September 25, 2024
Opposite Peas in Polish Travel Pod
September 25, 2024
As I write this, Sutton Frances Wells has been taking it all in and sizing things up for 28 hours, give or take. She, Cait and Jett will leave St. Barnabas tomorrow and return to the West Orange homestead. Cait’s family arrives from Massachusetts next week for Thanksgiving and whatnot. Hollywood Elsewhere arrives for a two-day visit on Friday, 12.3. Maggie (Jett’s mom) will be primary caregiver when Cait and Jett are working.
Hey, Jett and Cait…may I return for an extra visit just before I return to LA (12.11 or 12.12)?
If you, the Hollywood Elsewhere community, were in charge of Martin Scorsese‘s just-announcedGrateful Dead biopic, which period in the band’s history would you focus on?
Speaking as chief executive in charge of creative affairs for all of Hollywood and lands beyond, I would split the narrative between the band’s Palo Alto + Haight Ashbury beginnings (’65 to ’67) and the last year or so before legendary lead guitarist and guru-like leader Jerry Garcia (to be played by none other than Jonah Hill) succumbed to a heart attack caused by drug abuse (heroin), smoking, bad eating habits, etc. The first two-thirds in the ’60s, the last third in the mid ’90s.
It might be better to extend Part One to early ’69, which would allow for an extended sequence in which the band records “Live Dead” at the Fillmore West and Avalon Ballroom. To me “Live Dead” is the Mount Everest of Dead albums — it was also the first live rock album to use 16-track recording.
HE’s own Larry Karaszewski and Scott Alexander are penning the script. Don’t hold back on the “horse”, guys…keep it real.
[7:33 mark] “Before you get sick, you are sick. And this is a very sick country. Still is. I don’t mean mentally although that too. But physically. Why [won’t the media] talk about that?
“Let’s call it Factor X. If there was a factor that is responsible for 78% of the Covid deaths and hospitalizations, wouldn’t you have to — really, journalistically — report that? I’m talking about obesity. People in the media, people in the government are afraid to even mention it. Again…78 percent? 88% of worldwide deaths are in high-obesity countries. 40% of Covid deaths are [among] people with diabetes. And yet no one will mention it.
“I do, and they hate me for it. The last person who [tried to get people to participate in their own health] was Michelle Obama, and it did not go over well.”
Conservative hinterland types (including Trump loyalists) ignored Michael Showalter‘s The Eyes of Tammy Faye because they figured it would just trash rightwing American Christians — i.e., too predictable. And blue urban regions didn’t pay much attention either because they already knew that hinterland Christian yahoos are myopic and gullible and deluded — why pay to be reminded of that fact?
Nonetheless Searchlight marketers are trying to re-ignite interest in the film for the sake of Jessica Chastain‘s Best Actress campaign. I believe she deserves to be one of the five nominees, and that she’ll probably make the cut.
The new one-sheet for Adam McKay's Don't Look Up (Netflix, 12.10) is satirical, of course. It's making a dry joke about the cavalcade-of-stars posters that promoted Irwin Allen's disaster films of the '70s and early '80s. But of course, it's a joke that only cinephiles of a certain age will get. So Millennials and Zoomers will shrug and take it at face value.
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Why not just buy the damn thing, watch it and sort out the issues as I go along? Because I’m torn about it.
On one hand Ragtime, mainly set in the New York City area between 1905 and 1910, is a generally respected effort. Plus it seems all the more noteworthy now considering that a film of this type (released in the fall of ’81) would never be made for theatrical today.
Nobody has ever called it great or mindblowing, but some admire the devotional labor-of-love thing — the wonderful yesteryear detail, the ambitious scope, the old Model-T cars and horse-drawn wagons, the period-perfect clothing.
Plus a fair amount of work went into making Ragtime look as good as it possibly can. Plus the package includes a “directors cut workprint” that runs 174 minutes — 19 minutes longer than the original 1981 theatrical release version (i.e., 155 minutes). For me this is the biggest attraction.
Plus it offers some deleted and extended scenes. Plus a presumably engaging discussion between screenwriter Michael Weller and the esteemed screenwriter and man-about-town Larry Karaszewski, who worked with Forman on The People vs. Larry Flint. So it sounds like a decent package.
But on the other hand I know that Ragtime is an underwhelming, at times mildly irritating film. It certainly seemed that way when I caught a press screening sometime in the early fall of ’81, inside the Gulf & Western building on Columbus Circle. And no, I haven’t seen it since. I felt that as engrossing as some portions were, it didn’t feel right. It felt spotty. And it certainly didn’t catch the sweep, texture and wonderful authenticity of E.L. Doctorow’s 1975 book, the reading of which I adored.
It was great to see the 80-year-old James Cagney back in action, but I really didn’t care for some of the casting choices (especially Elizabeth McGovern as Evelyn Nesbit and the way-too-young Robert Joy as Harry K. Thaw).
And I never understood why so much attention was paid to the tragedy of CoalhouseWalker (Howard Rollins, Jr.), whose racially-provoked standoff was just one of many sagas that Doctorow passed along. Ragtime is so intently focused on this one character and his injured sense of honor that it could have been titled Ragtime: The Saga of Coalhouse Walker.
I realize that in accepting the challenge of compressing Doctorow’s fascinating cultural tapestry into a two and a-half-hour film, the efforts of Forman, Weller and the uncredited Bo Goldman were all but doomed from the start. In a perfect world Ragtime would have been produced as an eight- or ten-hour miniseries. Then it might have had a chance.
The daughter of Jett Wells and Caitlin Bennett arrived just after 11 am New Jersey time —11.17.21. Saint Barnabas Medical Center in Livingston. 8 lbs., 2 ounces. Labor began last night around 9 pm — 14 hours start to finish. Epidural administered around 3 am. Everyone is fine, all is well, morning has broken, all choked up.
Speaking as a leather-jacketed samurai poet clear light rumblehogger, I’m not that down with being called “grandpa”. It’s not what anyone would call a difficult hurdle, but the “g” word always makes me think of The Band’s “RockingChair.”
I know that Diet Coke isn’t especially healthy, and that it’s almost synonymous with Trumpism. But I’m a junkie all the same — my brain associates the taste of it with feelings of normality and assurance — and right now the shortage…hell, the absence of silver Diet Coke cartons on supermarket shelves is causing a certain distress. All the other soft drinks are there in abundance — Diet Coke is the only one that’s AWOL.
The rarely-shown 1.37:1 version of Full Metal Jacket is back on HBO Max. Please understand there is only one way to re-experience this 1987 war classic, and that's via the HD boxy version. It is absolutely the most visually pleasing version anyone will ever see. Perfectly framed. The head room is transporting. Nothing is cleavered or trimmed. Exactly the way Kubrick wanted it.
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I hate everyone and everything connected to Spider-Man No Way Home (Sony, 12.17). Okay, I don’t really mean that. I hope the film makes money and those who like to sit through this crap will feel satisfied or at least placated. But if I could erase the Spider-Man cinematic universe from everyone’s consciousness by clapping my hands three times, I would definitely clap my hands three times. Maybe that means I do hate everything connected to it.