Tag: videos

VIDEO REVIEW: The Sound of Music

Two new songs, I Have Confidence and Something Good, were added to The Sound of Music, written by Rodgers, after Hammerstein died.

One could reasonably make the case for movies one ought to see that came out this century. But there are SO many that I have never seen from the 20th Century that I don’t worry about the current stuff as much as I used to. Somehow, prior to this fall, I had NEVER seen The Sound of Music in its entirety. Oh, I’ve seen scenes, of course, but that’s not nearly the same thing.

It’s odd too because my mother had the LP soundtrack going back to nearly when it was released in 1965. I’ve had the CD of same for at least a decade and a half, and I love it dearly. I have great affection for the Morning Hymn that the nuns sing early on, and it’s in my Top Five movie soundtracks ever, along with West Side Story and Fiddler on the Roof.

Still, I had not seen many of the songs in the context of the film. Is there a more stunning opening of a movie than the background of the Alps while Maria (Julie Andrews) sings the title song? I didn’t realize Maria’s outdoor excursion was going to get her in trouble back at the abbey.

I knew somewhat of the clash of child-raising styles between Captain von Trapp (Christopher Plummer), a Naval officer widower with seven children, and the free-spirited new nanny, Maria, but I’d miss many of the particulars, such as the whistle. Do-Re-Mi is shot all over Salzburg, and the extra disc for the 40th anniversary let me know that the city is now a destination for movie buffs, largely for that song.

Of course, Maria and the Captain end up together, but somehow I was totally unaware of the subplot involving the Baroness (Eleanor Parker) that briefly bring Maria back to the abbey. And bringing the movie to the intermission. Yes, it’s included on the disc, and we went to bed at that point to finish the movie it the next night, because it is a LONG film.

The real story of Maria and the Captain was compressed in time, and the escape from Austria after the Nazi appeasement was far easier in real life than in the cinematic version. The real family feels that the Captain in the film was far less flexible than the father they knew.

Other features of the extra disc featured the REAL story of the Von Trapp singers as they settle in Vermont and become an international sensation. It also contains a reunion of the seven then-child actors remembering the goofs they made here and there that ended up in the film, a misstep here, a fall there.

Seeing the movie has given me a greater appreciation of the Rodgers and Hammerstein score, which changed from the Broadway version that Mary Martin and others had commissioned. At least one song was dropped, and two new songs, I Have Confidence and Something Good, were added, written by Rodgers after Hammerstein died.

There’s going to be a LIVE version of the STAGE musical on NBC-TV on December 5. I MUST watch.
***
A Complete Curmudgeon’s Guide To ‘The Sound Of Music’. On the other hand, a study suggests that Singing show tunes helps fight off dementia and Alzheimer’s disease.

 

Video review: Singin’ in the Rain

After noting in this blog that I had not seen the 1952 film in its entirety, it was total coincidence that The Wife decided the family ought to watch together Singin’ In the Rain.

I did not know this until watching the extras, but the film was MGM producer Arthur Freed’s plan to use his catalog of songs, written with Nacio Herb Brown, and used in previous MGM musical films, mostly from the 1930s. It became the job of screenwriters Betty Comden and Adolph Green to create a script that would make sense. They decided that making a film that shows one studio’s foray into talking pictures in response to the real game changing film, 1927’s The Jazz Singer. Hollywood is usually good at showing Hollywood.

Singin’ In the Rain is mostly marvelous. Gene Kelly not only plays Don Lockwood, “a popular silent film star with humble roots as a singer, dancer and stunt man, ” he also co-directed it with Stanley Donen. He performs the iconic title song sequence, which I had seen often, but it works so much better once seen in context.

Don’s leading lady in the silent films is Lina Lamont, played by Jean Hagen, doing her best Judy Holliday routine. She has a voice made for silent films.

Donald O’Connor, as Don’s best friend Cosmo, is marvelous dancing with Kelly, particularly in Moses Supposes, a Roger Edens/Comden and Green piece new for the film. But O’Connor is most extraordinary in his solo stint, Make ‘Em Laugh.

Debbie Reynolds, not yet 20, plays Kathy Selden. Don, avoiding his fans, accidentally lands in Kathy’s car. She feigns disinterest in his “undignified” film career, but later Don discovers she is not a stage actress but a chorus girl. Eventually, romance is kindled.

After the disastrous preview of The Dueling Cavalier, Don, Kathy and Cosmo come up with the idea to change it into a musical called The Dancing Cavalier. It’s at this point the marvelous dance Good Morning with those three characters takes place, up and down a flight of stairs, among other tricks. Reynolds, a gymnast but not previously a dancer, managed to keep up with Kelly and O’Connor.

I understand it from a historic context, but the one part of the movie I wish were a bit shorter was the flashy Broadway Melody Ballet. Not sure what I would have cut out, although it would NOT have been the parts with Cyd Charisse as Kelly’s dance partner. Incidentally, Reynolds’ rendition of You Are My Lucky Star, sung to a billboard showing an image of Don, was cut; nicely performed yet unnecessary in advancing the plot.

All in all, Singin’ in the Rain is a quite enjoyable film, and a cultural icon to boot, referenced in everything from A Clockwork Orange to Glee. The extras, showing where the songs had been used in previous films, was entertaining, as was Debbie Reynolds’ recollections of the filmmaking.

Video reviews: Iron Man 2 and The Parent Trap

Maureen O’Hara is gorgeous in The Parent Trap.

The Parent Trap (1961), if I saw it – and surely I MUST have seen it at some point – mustn’t I? – I watched SO long ago that the details are surely erased from my memory. It was a Disney film starring Hayley Mills… and Hayley Mills! I DO recall that ad campaign. The script was based on Das Doppelte Lottchen, a novel by Erich Kastner, that had been made into British and German films, using twin girls.

Two girls, one from tony Boston, the other from freewheeling California, meet at a summer camp and take an instant dislike to each other. Each just doesn’t like that other girl with her face. Antics ensue, including a social event with the boys from a neighboring camp, ruined by the duo.

Forced to spend time together in isolation, Sharon and Susan discover they have the exact same birthday… and the same mother! They figure out that their parents separated when they were infants, with Sharon staying with their mother, and Susan off with their dad. They decide to switch places, which involves Susan cutting Sharon’s hair, in order to get their parents back together.

Susan gets to spend time with her mother (Maureen O’Hara), grandmother (Cathleen Nesbitt), and grandfather (Charlie Ruggles), who is the first to uncover the scheme. Meanwhile, Sharon finally sees dad (Brian Keith) on his ranch. His housekeeper (Una Merkel) notices a “change” in the girl. But trouble is brewing: Dad is engaged to some gold digger named Vicki (Joanna Barnes).

Eventually, Susan and mom head west, and the plot goes from there.

The not-so-good:
It’s too long! At 129 minutes, we watched it in two sittings. I would have cut some parts of the 30-minute set-up.
A couple of the songs, by Richard and Robert Sherman, were period pieces, and not very impressive.
For both of these, I blame Uncle Walt. I discovered, from the extras disc, that the movie lacked a title song for a good while. One working title was Let’s Get Together; the Sherman Brothers wrote a song by that name, and then Walt insisted that director David Swift insert the song into the movie, not once, but twice. As sung by Annette Funicello, it’s on a record at the dance; as sung by Susan and Sharon, (unconvincingly) playing guitar and piano, it’s a serenade to mom and dad.
The ultimate title song, performed by Tommy Sands and Annette, isn’t great either.

The quite good:
The winning cast. In spite of the implausibility that parents would keep the sisters’ existence from each other, and the unlikely coincidence of the meeting, good chemistry between the siblings, and with their family.
Hayley playing opposite Hayley, much more difficult in the day than it would be now, was quite effective. The filmmakers, I discovered, looked for some physical background, such as a wall design so that if the matting weren’t perfect, it wouldn’t be as obvious.
From the extra disc: highly entertaining six minutes with Susan Henning, who played Hayley’s double, who only appeared on-screen when one girl was at an angle to the other, or when you saw one girl’s back. She is uncredited in the film, but Walt Disney himself gave her a special trophy at the end of the shoot.
The other Sherman Brothers song, For Now for Always, sung by Maureen O’Hara, as mom recalls the first date with dad, is lovely. This too was a title song contender. Speaking of lovely, O’Hara is gorgeous in this film, more beautiful at 40 than the 26-year-old Barnes.

I think this review is largely accurate, especially with regards to the extras, although the disc I rented paired Parent Trap with its 1986 TV sequel.
***
Which brings me to:
The Parent Trap II (1986). A quarter century after Susan and Sharon’s successful maneuver, a now divorced Sharon (Hayley Mills) wants to move to NYC for her job. Her daughter Nicki fears losing her best friend Mary, unless Sharon marries Mary’s dad Bill (Tom Skerritt); then they would be sisters. They get aunt Susan (Hayley Mills), who is married, to pretend to be Sharon to get him interest in Sharon. Wha?

The motivation for Susan is so non-existent. It’s one thing to get her parents, who were once married, BACK together again. This matchmaking, though, is bizarre. The film had the feel of a clunky 1980s TV movie because it is. There is one rather funny scene near the end, but both the Daughter and I were either bored or confused through much of this.
***
Iron Man 2 (2010) was OK. I LOVED the first film but was concerned about the big reveal at the end that Tony Stark was Iron Man. In this iteration, Tony tangles with a self-important Senator (Gary Shandling) and a military weapons expert (Sam Rockwell). Can the secrets of the powerful Iron Man suits fall into the wrong hands? Apparently so, as Ivan (Mickey Rourke), son of Tony’s father’s colleague, poses a serious threat.

Meanwhile, Lt. Rhodes (now played by Don Cheadle) gets all conflicted about his obligations to the military and to his friend Tony. Does Tony just give Stark Industries to his secretary, Pepper Potts (Gwyneth Paltrow)?! And what’s the story with Stark Industries legal consultant Natalie Rushman (Scarlett Johansson)? It all made sense at the end but felt convoluted along the way.

Oh, and obviously, I was supposed to have seen this BEFORE the Thor movie. Nick Fury (Samuel L. Jackson) continues to be involved in the mix. In any case, I think I’m now finally ready to see the Avengers movie.

Video Review: Moneyball

I haven’t watched a movie on DVR/video in several months. One of the issues is that it becomes too easy to treat it like well, a video, stopping and starting at will, something substantially different than going to the movie theater and watching a film from being to end, without interruption.

Two things, though, converged to make the preferred viewing methodology possible last Sunday. A friend of mine who had Netflix received the Moneyball DVD in the mail, but would not be able to watch it over the weekend because she’d be out of town. Then my wife and daughter went to a play (at Steamer No. 10, for you locals), allowing me the opportunity to watch Moneyball as though I were at the movies. Well, not quite, with my 20″ TV screen, but otherwise, more or less the same. And I REALLY wanted to see this, having just missed it in the cinema.

Moneyball is the story of the Oakland A’s baseball team that competed in the American League with teams such as the New York Yankees, who had about thrice the payroll as the A’s.

Inevitably, not only did the poorer teams lose in the playoffs, if they got there at all, but their free agents tended to flee to the richer teams for the big contracts. Such was the case in 2001, when, after the A’s lost to the Yankees in the playoff, Jason Giambi signed with the Yankees and Johnny Damon with the Boston Red Sox.

A’s General Manager Billy Beane (Brad Pitt), once a big-league prospect who washed out, had difficulty trying to engineer a particular trade with another team. Beane identified the guy who essentially put the kibosh on the deal as Peter Brand (Jonah Hill), who uses statistical information called sabermetrics to evaluate and select players for teams, a concept Beane embraces; the scouts and manager Art Howe (a scarily accurate Philip Seymour Hoffman), not so much. So the season became a struggle between concept and execution.

I liked this movie. It wasn’t jammed packed with excitement, except baseball excitement, but told a compelling story. It may be true that you don’t need to know the game to appreciate the narrative, but I know my knowledge of the game most definitely enhanced my enjoyment. Perhaps it was the aspect of rejecting the “conventional wisdom” and taking a chance on a belief system was that non-baseball fans related to, and I can definitely see that.

Y is for Yankovic, “Weird Al” Yankovic

He got his parody tapes to radio personality Dr. Demento when Al was still a teenager and his career slowly took off.

 

I was flipping through the channels on a Saturday morning – unusual, that – when I came across a BIOGRAPHY Channel piece on “Weird Al” Yankovic, which I was oddly compelled to watch. Then I came across this Bat Segundo interview, a very interesting listen.

Most novelty acts last a year or three. So how is it that Weird Al has managed to mine the music parody gig for nearly three decades? Not only that, he is more successful than ever, up for two Grammy awards in February 2012 and having a 2011 Top 10 album. Yankovic’s success comes in part from his effective use of music video to further parody popular culture, the song’s original artist, and the original music videos themselves, scene-for-scene in some cases. There’s a whole YouTube channel of Weird Al songs out there, so it’s difficult to narrow the list.

As a kid starting on the accordion, the instrument of non-relative Frank Yankovic, Al learned to play an unusual version of rock and roll. He got his parody tapes to radio personality, Dr. Demento, when Al was still a teenager and his career slowly took off.

Al usually has three basic types of songs on his albums, of which I have a half dozen: those that parody a particular song with new lyrics, generally with the express permission of the original artist; original songs, often in the style of a given group; and the polka medley, where a bunch of songs are strung together.

For instance, compare Al’s Eat It with Beat It by Michael Jackson. Or Al’s Smells Like Nirvana with Nirvana’s Smells Like Teen Spirit. Many of the same sets and/or actors are used in both the original videos and Al’s renditions.

Just a handful of the parodies:
Ricky, a riff on the TV show I Love Lucy, taking the tune from Toni Basil’s Hey Mickey
Amish Paradise which came, via Coolio’s Gangsta Paradise, from Stevie Wonder’s Pastime Paradise
Gump, about the movie character Forrest Gump, based on the Presidents of the United States’ Lump
Polkas on 45, the first of the polka medleys
The Saga Begins, a Star Wars riff using Don McLean’s American Pie
And something I can really relate to:
I Lost On Jeopardy, based on Jeopardy by Greg Kihn, who’s in the last shot of Al’s video.

A 2011 non-parody tune contains an important message: Stop Forwarding That Crap To Me

As Wikipedia and the BIOGRAPHY special noted, Al tends to work clean. There are videos purporting to be Weird Al’s, usually “songs that are racist, sexually explicit, or otherwise offensive,” which often misspell his last name as Yankovich. So make sure you’re getting the real Weird Al Yankovic. This Funny or Die video isn’t really Al, but Al does appear in it in a small role.

From Correlated.org, a meaningless factoid: In general, 59 percent of people like Weird Al Yankovic. But among those whose primary home computer is not a laptop, 74 percent like Weird Al.
Based on a survey of 245 people whose primary home computer is not a laptop and 544 people in general.

ABC Wednesday – Round 9

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