movies Archives - Page 26 of 111 - Ramblin' with Roger

Actor Kurt Russell turns 70

Portland Mavericks

When I told my wife I was probably going to write about Kurt Russell turning 70, she went “Oh!” “What does THAT mean?” “Kurt Russell was my first crush.”

Not that I’m jealous, mind you.

I was utterly fascinated by Kurt Russell as a kid. He wasn’t much older than I was. I know I watched The Travels of Jaimie McPheeters (1963), a western, though I don’t specifically remember the storyline. “Twelve-year-old Jamie McPheeters, along with his ne’er-do-well father and a ragtag group of pioneers, travel westward from Paducah, Kentucky to the California gold fields in 1849.” Nope, still don’t recall it.

And there were a series of movies, some with Disney, which I almost certainly watched.

The New Land (1974) featured “the trials of a settler family of Swedish immigrants to America.” Watched that, too. If you don’t remember it, it’s probably because lasted only six episodes.

He didn’t become one of those child stars who ended up troubled. Instead, he developed into a successful adult actor, primarily in movies. And most of them I never viewed! In fact, looking at his IMDB roster of films, there are only three I’m positive I saw: Silwood (1983), Swing Shift (1984), and Guardians of the Galaxy Vol. 2 (2017). Oh, I did see the Elvis TV movie in 1979.

Baseball

There’s a film I just read about that I want to see. The Battered Bastards of Baseball (2014) is a “documentary film about the Portland [OR] Mavericks, a defunct minor league baseball team… They played five seasons in the Class A-Short Season Northwest League, from 1973 through 1977. Owned by actor Bing Russell [Kurt’s dad], the Mavericks were an independent team, without the affiliation of a parent team in the major leagues.”

The things I discover. “Kurt Russell was a switch-hitting second baseman for the California Angels minor league affiliates, the Bend Rainbows (1971) and Walla Walla Islanders (1972) in the short-season Class A-Short Season Northwest League, then moved up to Class AA in 1973 with the El Paso Sun Kings of the Texas League.

“While in the field turning the pivot of a double play early in the season, the incoming runner at second base collided with him and tore the rotator cuff in Russell’s right (throwing) shoulder.

“He did not return to El Paso but was a designated hitter for the… Mavericks… late in their short season… He had been doing promotional work for them in the interim. The injury forced his retirement from baseball in 1973 and led to his return to acting.”

Goldie

Russell appeared in five films with performer Goldie Hawn, possibly still best known for Rowan and Martin’s Laugh-In. The first was way back in 1968, The One and Only, Genuine, Original Family Band. Goldie made her big-screen debut in a bit part. She was 21, but he was only 16.

During the making of Swing Shift (1984), they became romantic partners. They were also in Overboard (1987), and the two Christmas Chronicles films (2018, 2020).

They’ve been together since 1983. Her kids (Kate and Oliver Hudson) are his kids. His kid Boston Russell is her kid. They have a son together, Wyatt. And they are happily unmarried.

Goldie said, and Kurt would agree: “We have done just perfectly without marrying. I already feel devoted and isn’t that what marriage is supposed to do? So as long as my emotional state is in a state of devotion, honesty, caring, and loving, then we’re fine.

“We have raised our children brilliantly; they are beautiful people. We did a great job there and we didn’t have to get married to do that. I like waking up every day and seeing that he is there and knowing that I have a choice. There is really no reason to marry.”

Kurt Russell turns 70 on St. Patrick’s Day.

The Bee Gees: How Can You Mend a Broken Heart

How can you stop the rain from falling down?

Barry Gibb says he can’t watch the entirety of the documentary The Bee Gees: How Can You Mend a Broken Heart. He told CBS News’ Anthony Mason, “I think it’s perfectly normal to not want to see how each brother was lost, you know?”

But you should. I saw it on HBO last month. The film was directed by Frank Marshall.

This is the story of Barry (b. 1946) and his fraternal twin brothers Robin and Maurice (b. 1949), who lived in Manchester, England. They were more like triplets, Barry said, listening to the same music and by 1955, singing together. The family moved to Queensland, Australia, where they achieved their first chart success with Spicks and Specks, their 12th single.

They returned to the UK in January 1967. Producer Robert Stigwood began promoting them to a worldwide audience. They wrote and sang a series of hits, including To Love Somebody, Words, Massachusetts, and I’ve Got To Get a Message to You. But fame is not forever, and their excess lifestyles caused division in the trio.

461 Ocean Boulevard

A change in venues, to Miami, and the right compatriots, got them back on track. In fact, they lived at the same location that Eric Clapton had stayed when he created his “comeback” album, 461 Ocean Boulevard.

They created the Main Course collection, with the hit Jive Talking. Then the enormous, and unexpected success of the Saturday Night Fever soundtrack. And, coming along as a complementary artist, was baby brother, Andy Gibb (b. 1958), with hits of his own.

As dance music was co-opted, and pale imitations of it were created – think Disco Duck – a backlash ensued. It was epitomized by Disco Demolition Night, a Major League Baseball promotion on Thursday, July 12, 1979, at Comiskey Park in Chicago.

One of the ushers recalled that there were LPs of several non-disco black artists, such as Marvin Gaye, Isaac Hayes, Curtis Mayfield, and Stevie Wonder among the recording to be destroyed. The fans rioted during the event, and the White Sox ended up having to forfeit the second game of the doubleheader.

This time of changing fortunes, the brothers were able to pivot to becoming primarily songwriters, for Barbra, Celine, Diana, Dionne, Dolly, and Kenny, among others. This allowed them room to reach their next act in their careers. It was supposed to be with Andy Gibb as an official member of the Bee Gees. Unfortunately, he died on 10 March 1988, at the age of 30, as a result of an inflammation of the heart muscle.

Barry, by himself

Then Maurice, the chief negotiator between Barry and Robin, died unexpectedly on 12 January 2003, at the age of 53. He suffered a heart attack while awaiting emergency surgery to repair a strangulated intestine.

The surviving brothers bounced between solo gigs and the occasional duet. Late in 2011, it was announced that Robin Gibb had been diagnosed with liver cancer, which he had known about for several months. He died on 20 May 2012 of liver and kidney failure. He was 62.

The Bee Gees, though in the Rock and Roll Hall of Fame since 1997, has been, to my mind, undervalued and unnecessarily vilified. Their resilience and reinvention over the decades alone are praiseworthy. Recorded music they’ve performed and/or written is in the hundreds of millions of units.

The documentary had a few new insightful interviews with other artists. Eric Clapton was also signed to Stigwood. Nick Jonas and Oasis’ Noel Gallagher amplified the tricky balance of performing with one’s brothers.

Barry is still performing and recording. But he noted that he’d give up all the fame if he could have his brothers back. How Can You Mend a Broken Heart indeed?

“I can think of younger days when living for my life
Was everything a man could want to do
I could never see tomorrow, but I was never told about the sorrow.”

Movie review: Blow The Man Down

Greek chorus

The movie Blow The Man Down begins with David Coffin and other men singing the title song. You may know the tune from Popeye cartoons. The singers are a Greek chorus of sorts, I suppose. I enjoyed them quite a lot.

The story proper begins with the funeral of Mary Margaret Connolly in Easter, Cove, Maine. She had two adult daughters, Priscilla (Sophie Lowe) and Mary Beth (Morgan Saylor). The mom had three good friends Susie (June Squibb), Doreen (Marceline Hugot), and Gail (Annette O’Toole) who say they’ll be there for the daughters.

Part of the trio’s mission is to change the profile of the local, er, B and B, run by their former colleague, Enid Nora Devlin (Margo Martindale). The proprietor seems disinclined.

Meanwhile, a murdered body washes up on the shore. Officer Coletti (Skipp Sudduth) and his younger, more eager colleague, Officer Justin Brennan (Will Brittain) are investigating the homicide.

That’s all I’ll say about the plot. The story was written and directed by Bridget Savage Cole and Danielle Krudy.

Satisfaction

Leonard Maltin’s observations seem applicable. “Blow the Man Down hasn’t great ambitions but fulfills its modest goals nicely. It’s well worth streaming, especially if you have a cup of chowder handy.” In fact, 98% of the critics gave the film a thumbs up, ranking #29 on the Rotten Tomatoes list for 2020.

General audiences were a bit more critical, with 75% liking it. Some found it too slow, or too much like Fargo. A few complained about the resolution; I thought it was one of the best elements. Others didn’t like the singing fishermen, for which I say, FIE!

Maybe it is that I am particularly fascinated with family secrets, many of which do not come to light until after someone dies. This narrative felt emotionally true for me.

I’ve liked June Squibb ever since I saw her in the movie Nebraska back in 2014. But the scene-stealer in this film is Margo Martindale, who is the focus of every scene she’s in.

I watched Blow the Man Down on Amazon Prime.

Movie review: Small Axe – Mangrove

Steve McQueen

Is Small Axe a movie, a series, or what?. It is a British anthology film series, according to Wikipedia. But IMDB refers to it as a TV miniseries.

Regardless, it was created and directed by Steve McQueen. Not the dead American actor, but the black British director. “The anthology consists of five films that tell distinct stories about the lives of West Indian immigrants in London from the 1960s to the 1980s.”

It’s been showing on BBC One in the UK and on Amazon Prime Video in the US. “The title references a proverb – ‘If you are the big tree, we are the small axe’ – that was popularized by Bob Marley in his 1973 song ‘Small Axe.'”

Mangrove, the first Small Axe film refers to “the Mangrove restaurant… and the 1971 trial of the Mangrove Nine.” The eatery was located in Notting Hill, but Hugh Grant and Julia Roberts are nowhere in sight. It was a “lively community base for locals, intellectuals and activists.”

“In a reign of racist terror, the local police raid Mangrove time after time, making Frank (Shaun Parkes) and the local community take to the streets in a peaceful protest in 1970. When nine men and women, including Frank and leader of the British Black Panther Movement Altheia Jones-LeCointe (Letitia Wright), and activist Darcus Howe (Malachi Kirby), are wrongly arrested and charged with incitement to riot, a highly publicized trial ensues…”

Mangrove also stars Rochenda Sandall, Alex Jennings, and Jack Lowden. You may recognize Wright, who portrayed Shuri in Black Panther and the last two Avengers movies.

Yes, it does

If you didn’t know about how rampant racism works, you’d find the police blowback over a guy who just wanted to start a Caribbean restaurant unbelievable. Indeed, in one of only two unfavorable reviews on Rotten Tomatoes out of 122, John Anderson of the Wall Street Journal wrote: “The brutality visited upon the Black characters is so extreme that you may find it hard to enter the story. This is not to say that what’s depicted didn’t happen. But as drama, it amounts to overkill.”

It’s difficult for some to believe that a place where people gathered and felt accepted could be a threat to the established order. Unfortunately, the events here do parallel incidents that have happened in the United States, some a few decades ago, others more recently.

Mangrove is a very fine film. I would be surprised if Wright and maybe others will be nominated for awards. McQueen’s real problem, based on what I’ve been reading, is that he may be in competition with his other Small Axe films. Episodes. Whatever they are.

Lingering violence of ‘Birth of a Nation’

“one of the embarrassments of film scholarship”

In the CHRISTMAS EVE 2020 edition of the Boston Globe, there was a stunning bit from an article. Social Studies: “The lingering violence of ‘Birth of a Nation’” excerpted five articles from university-based publications.

The one I want to point out here is “The Birth of a Nation: Media and Racial Hate,” Harvard University (November 2020). The author is listed as D. Ang. I assume it is Desmond Ang, Assistant Professor of Public Policy at Harvard’s Kennedy School.

The quotes

The 1915 movie “The Birth of a Nation” is infamous for its positive portrayal of the Ku Klux Klan, but what many people may not appreciate today is just how influential it was — and still is. Little surprise when the source material was the Thomas Dixon Jr. novel The Clansman: An Historical Romance of the Ku Klux Klan. “Romance,” indeed.

Here are a couple of more recent contrasting opinions. James Agee: “To watch his work is like being witness to the beginning of melody, or the first conscious use of the lever or the wheel; the emergence, coordination and first eloquence of language; the birth of an art: and to realize that this is all the work of one man.” That man, of course, was D.W. Griffith.

Andrew Sarris: “Classic or not, ‘Birth of a Nation’ has long been one of the embarrassments of film scholarship. It can’t be ignored…and yet it was regarded as outrageously racist even at a time when racism was hardly a household word.”

As the Harvard professor notes, “an estimated 10 million Americans — roughly one-fifth of the adult white population — turned out to see the movie in its first two years,” and “newspaper reports from the period estimated that nearly 50 percent of adults in Boston, Baltimore, and New Orleans saw the film.”

The movie was screened via traveling roadshow rather than simultaneous nationwide release, and the professor finds that lynchings and race riots increased fivefold within a month of the movie’s arrival in a county. Also, counties that screened the film were much more likely to have a Klan chapter in 1930 — a correlation that persists into the 21st century, with more white supremacist groups and hate crimes in those counties than in counties that didn’t screen the movie.

The Binghamton Press

There were over 150 references to the movie in my hometown papers. It was first shown in the area the week of January 10, 1916, and played again in 1917. The Klan was quite visible in Binghamton, NY in the mid-1920s, as pictured here.

But I’m curious about how narrow those early showings were. It played for three days at the Stone Theater in early September of 1921. The anonymous movie compiler wrote, “It will be presented upon the same elaborate scale which has marked its recent presentations” in New York City and other large markets.

The film returned with a soundtrack recorded in 1930 but wasn’t shown until 1949. The Roberson Theatre showed it in 1979, but I see that one as a totally different experience. Robeson was an educational center where I saw movies by Fellini, Bergman, and Hitchcock, so I imagine there was some contextualization taking place.

The more recent references included a writer finding the placement of the film on the AFI’s best to be abhorrent. I suppose one could make the case that it was very good at being terrible.

Should I see this?

I’ll admit I’ve never seen the movie in its entirety. I’ve watched clips, of course. There were several bits of it in the 2018 film BlacKkKlansman.

As it turns out, one can find copies of the film, which runs for 195 minutes at the National Archives site. Next time I want to get ticked off, and have three hours on my hands, I guess I’ll check it out.