tag:blogger.com,1999:blog-5435692233490212532024-03-14T02:48:57.837-07:00Thomas Burchfield: A Curious ManAn eclectic collection of essays, reviews and other ephemera, mostly relating to writing, publishing, literature, film, humor, travel. I've recently completed a novel, BUTCHERTOWN, a 1920s gangland shoot-em-'upThomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.comBlogger261125tag:blogger.com,1999:blog-543569223349021253.post-14849886950265769372019-11-22T12:26:00.003-08:002019-11-22T12:26:57.506-08:00I've Moved!<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Greetings to all and sundry:</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>For those of you who still come by here, I'm no longer posting on this page! I've moved my tack over to <a href="https://medium.com/@Thomburchfield">MEDIUM</a>. I hope to see you there!</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Thanks for you coming by over the years!</b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Thomas Burchfield</b></span>Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-72474161731775696402019-05-08T16:21:00.000-07:002019-05-08T16:56:55.526-07:00Old School: Simenon sans Maigret<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">French author <a href="http://www.georgessimenon.co.uk/">Georges Simenon</a> one of the most prolific and unique novelists of the last century. His work still resonates in this one, weaving together the worlds of both popular and literary fiction.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">His total output is hard to pin down, but he was said to write up to 60 to 80 pages a day. Of his hundreds of novels and short stories, a mere 75 of them feature his legendary <i>commissaire </i>Jules Maigret.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">His books are almost all short. They seem a bit rushed, rolled into the typewriter, typed up and then rolled out to make room for the next. At their best, they’re marked by fine plotting, unique concepts and striking pointed details in setting and insights into the tangled minds and manners of the criminal class and those caught in its web. They’re much more than crime novels. For William Faulkner, Simenon reminded him of Anton Chekov, naturalistic portrayals of closed worlds bound by habit and fear, with always with a corpse or two about.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of the many crime novels Simenon wrote <i>sans Maigret</i>, two have recently spent time with me in the easy chair. One, <i>The Blue Room </i>(1964), is a grimy and brilliant variation on James M. Cain. Set in the early 1960s in a dreary provincial French village, it’s a sly weave of flashbacks told through the eyes of Tony, a small businessman who attempts to end his affair with Andree, a woman whose husband runs a candy shop.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Attempt is all he can do, because, unbeknownst to Tony, Andree has no intention of calling things off. Tony soon finds himself steeped in poisonous murder and in the clutches of both Andree and the law.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It’s a creepy and compelling book, frank in its sexuality and muddy with verisimilitude and the oppressive ambiance of everyday life in a small village where the more the sordid the secret harder it is to hide.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Hatter’s Phantoms </i>(1949) is a dark comedy from my least-favorite genre, the serial-killer tale. Here, Monsieur Labbé, the neighborhood hat maker in an unnamed Parisian <i>arrondissement</i>, commits a series of murders whose motives I won’t reveal, but whose motivation is surprising while being devoid of both Freudian twaddle and lazy sadism.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As he slays his victims and taunts police and public with boasting letters, mad hatter Labbé finds he's got a problem: He’s been found out. Luckily for him though, the man who knows, Kachoudas, the tailor across the street, is a poor, hapless immigrant and neighborhood laughing stock No would believe him, especially should he dare accuse such a fine French <i>bourgeois </i>as Monsieur Labbé. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">No one is more aware of this than Kouchadas himself, who lives his life in a silent crouch, waiting for the next blow to fall, which it does. But when it does come, from a surprising if banal direction, Monsieur Labbé finds no relief.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Hatter’s Phantom </i>is a good novel that artfully portrays a gray world of closed lives and deep suspicion. The ending feels rushed out the typewriter, as I’ve seen in other Simenon novels, but the writing, here translated by Willard R. Trask, is both vivid and stark. It hums along in Simenon’s unique voice.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield is the author of <i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield/dp/0984775544/ref=sr_1_1?qid=1547750338&refinements=p_27%3AThomas+Burchfield&s=Books&sr=1-1&text=Thomas+Burchfield" style="color: #954f72;">Butchertown</a>,</i>a ripping, 1920s gangster thriller, which was praised as “incendiary” by David Corbett (<i>The Long-Lost Love Letters of Doc Holliday; The Art of Character)</i>! His contemporary vampire novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and<i>Dracula: Endless Night </i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-41019922854102497382019-02-06T11:25:00.002-08:002019-02-06T11:26:14.773-08:00Thoughts on "The Secret Agent" by Joseph Conrad<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Secret Agent: A Simple Tale</i>by Polish-British author <a href="http://www.josephconradsociety.org/">Joseph Conrad</a>, is anything but simple. Published in 1907, it’s the earliest example of realistic literary espionage I know of. Its complex plot centers on one Adolf Verloc. Verloc wears three faces: one face belongs to a small-time shopkeeper who lives in London’s Soho with his adoring—and fatally trusting—wife, Winnie; her little brother Stevie (who may be autistic); and Winnie’s mother. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Behind his dowdy public face hides another: Verloc is also part of an anarchist ring. His comrades gather often, talk much, but do next to nothing. The most radical of them is known only as “the Professor,” a nihilist who wanders London with a live bomb in his pocket and his hand on the trigger. He’s an incisive portrait of the “horseshoe theory” of political radicalism, where extreme left and extreme right meet up to the ruin of everyone in between.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But as we learn, in a neat twist, Verloc’s anarchist face hides another: He’s also an informant and <i>agent provocateur </i>for an unnamed foreign government (likely Russia). This government finds Britain’s comparatively open attitude toward political dissent a threat to their own internal control. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">His handler, Mr. Vladimir, orders him to commit a terrorist act in order to provoke a crackdown, an action that would also ensnare Verloc’s comrades. He proposes bombing the Royal Greenwich Observatory. When Verloc balks at this daft idea, Vladimir threatens to expose him as an agent, betraying him to both his comrades and British authorities.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Verloc carries out his mission. But the attack goes wrong and an innocent is killed, leaving Verloc alone to face his pursuers in Scotland Yard, in British intelligence, and finally, within the walls of his own home. As Conrad painstakingly shows, Verloc and his comrades are mere pawns in a game they really no play no part in.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Joseph Conrad was a deeply political writer who seems to have hated politics. In this novel he portrays a world of politics as a sphere with no moral center and where everyone is at constant cross purposes. His view of terrorism is only partial—those more acquainted with more “successful” terrorist organizations may dispute his portrayal of terrorism.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Like his other work, <i>The Secret Agent </i>is a little dense and digressive for today’s readers, but it’s written in beautiful but careful prose throughout. Its picture of terrorism may be incomplete, but its gritty detail, pathos, and detached bitter view of politics are echoed in the work of John le Carré. It’s been adapted for the screen several times, including Alfred Hitchcock’s 1936 version, <i>Saboteur</i>, and, most recently, in 2016, a typically smooth and elegant BBC production that stars Toby Jones as Verloc that adds a romantic angle missing from this resolutely unromantic novel.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield is the author of <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield/dp/0984775544/ref=sr_1_1?qid=1547750338&refinements=p_27%3AThomas+Burchfield&s=Books&sr=1-1&text=Thomas+Burchfield" style="color: #954f72;">Butchertown</a></i></span><i>,</i>a ripping, 1920s gangster thriller, which was praised as “incendiary” by David Corbett (<i>The Long-Lost Love Letters of Doc Holliday; The Art of Character)</i>. His contemporary vampire novel <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a> </span>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and<i>Dracula: Endless Night </i>(e-book editions only). Published by <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a></span>, all are available at <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a></span>,<span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a></span><span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a></span>, and other retailers. In addition <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><a href="http://tbdeluxe.blogspot.com/" style="color: #954f72;">to his own blog</a></span>, he’s also published in <span class="MsoHyperlink" style="color: blue; text-decoration: underline;"><i><a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a></i></span>, <i>The Strand</i>and <i>Filmfax</i>. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-39710563483732937572019-01-21T10:19:00.002-08:002019-01-21T10:21:48.909-08:00Noir City, 2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It’s January, the most terrible time of the year! But for Bay Area movie buffs that means another stroll down some of cinema’s meanest alleys, a concrete and steel universe of endless shadows and impenetrable smoke. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Yes, it’s the 2019 edition of <a href="http://www.noircity.com/" style="color: #954f72;">Noir City-San Francisco,</a>the annual film festival founded and sponsored by the <a href="http://www.filmnoirfoundation.org/home.html" style="color: #954f72;">Film Noir Foundation</a>and its founder, and master of ceremonies, Eddie Muller. It plays at gorgeous <a href="http://www.castrotheatre.com/calendar.htm" style="color: #954f72;">the Castro Theatre</a>, San Francisco, starting Friday, January 25<sup>th </sup>and closes Saturday, February 2<sup>nd</sup>: twelve films over ten days.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This time, the festival fixes its gaze on noir films produced in the 1950s, when the genre was just at its peak before fading out of fashion. As in years past, it’s a jewel case of gems and oddities: a few premieres mixed with B-movie obscurities plus solid classics that bear repeated viewing.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Time and space allow me to see only a fraction of the program. Most of them I've seen before, some just recently, some not since I was a silver-faced tyke sitting cross-legged in front of the TV.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of those unseen, I’d call the opening night feature, <i>Trapped</i>, starring Lloyd Bridges and directed by Richard Fleischer the most intriguing. Its plot sounds a bit batshit (a convicted counterfeiter released from jail and sent undercover), but there are two good reasons to see it. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">One is <a href="https://en.wikipedia.org/wiki/Lloyd_Bridges#External_links" style="color: #954f72;">Lloyd Bridges</a>. You all know his sons <a href="https://www.jeffbridges.com/" style="color: #954f72;">Jeff</a> and <a href="https://en.wikipedia.org/wiki/Beau_Bridges" style="color: #954f72;">Beau</a>, but their dad, your elders will also have you know, was a star back in Boomer days and a fine, well-respected actor who played mostly straight-arrow, second-tier leads, in the manner of other actors such as Leslie Nielsen, Peter Graves and Robert Stack. He’s well remembered for playing Deputy Harvey Pell in <i>High Noon</i>, a role, it’s said, originally marked for Lee Van Cleef.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Lloyd Bridges achieved his greatest success in television: Probably his most famous role was as Mike Nelson in the TV series <i><a href="https://archive.is/20121220015537/http:/home.comcast.net/~bill.jones.scubaguy/SEA_HUNT/SeaHunt.html" style="color: #954f72;">Sea Hunt</a>, </i>an underwater crime show that helped popularize scuba diving in the 1960s. (It inspired one of my older brothers to purchase scuba gear, which he never got to work properly, causing our mom’s blood pressure to swell to high triple digits: “I had you on bottom of the Hudson River!”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Bridges spent the latter part of his career in television. He sprung to the spotlight once again in the classic 1980 spoof <i>Airplane! </i>Here, I assert, the sight of straight-arrow Lloyd Bridges sniffing glue while hanging upside down remains an inspired gag and a highlight of my long life at the movies.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The other reason to see <i>Trapped </i>is the direction of Richard Fleischer, who helmed the wonderful noir classic <i>The Narrow Margin</i>. Boomers remember Fleischer for directing <i>20,000 Leagues Under the Sea </i>for Disney and many other top Hollywood projects. (His best later film, to me, is the serial killer drama <i>10 Rillington Place</i>, a superbly directed film.) <i>Trapped </i>is almost sure to feature some strong visuals from this master of <i>noir</i>.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As for the rest, I’d also like to see <i>The Burglar</i>, from a David Goodis novel, starring Dan Duryea. Goodis (author of <i>Down There, </i>aka <i>Shoot the Piano Player</i>) <i></i>was a famously downbeat noir novelist and it would be interesting to see how closely the film captures his bleak view.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As for the known knowns, there’s a lot to see. Among them is one of three Sam Fuller films, <i>Pickup on South Street</i>. Here we’re graced with Richard Widmark as a Gotham pickpocket whose sticky fingers ensnare him in brutal Cold War intrigue. Widmark was a master at playing lowlifes—<i>Night and the City</i>, high among my favorite <i>noirs</i>, is great due partially to him. There’s also great work by Thelma Ritter as one of Widmark’s colleagues and, of course, director Fuller’s ultra-punchy style. (The festival also features Fuller’s <i>The Crimson Kimono </i>and <i>Underworld U.S.A.</i>)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I also recommend <i>The Detective Story</i>. From a play by Sidney Kingsley and directed by William Wyler, it’s social realism in the guise of <i>noir</i>. It follows a day in the life of a New York City precinct and its chief detective, Jim McLeod. It’s no <i>Barney Miller</i>, but a sad and distressing story of a veteran cop’s unravelling as the moral absolutes he lives by collapse in rubble.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">William Wyler was not a <i>noir </i>director, but he was one of the master big studio directors of his time. His films are neglected, I think unfairly, by today’s critics for being “too establishment.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Then there’s the performance of Kirk Douglas, an actor for whom, I’m sure, they coined the word “powerhouse.” Douglas dominates the screen like no other star, but he has a way of making us squirm. Even his noblest heroes seem arrogant bastards, making McLeod the perfect role for him. Douglas was a great movie star who bravely embraced singularly unpleasant roles. As we reach the end of the “difficult men” era in prestige TV (<i>The Sopranos</i>, <i>Mad Men</i>, etc.), remember that Kirk Douglas was there before any of them.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">You might get a kick out of <i>Angel Face</i>, a 1953 melodrama directed by Otto Preminger and featuring Robert Mitchum and Jean Simmons. Mitchum plays an ambulance driver who gets mixed up in Jean Simmons’ scheme to murder her wealthy husband. The story <i>behind </i>the film sounds more dramatic to me but stick around for a shocking fiery climax.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The festival also gets a revisit from that old 1950s <i>noir </i>warhorse, <i>Kiss Me Deadly</i>, up there with <i>The Big Combo </i>as one of the most florid, perverse and looniest <i>noirs </i>ever. Directed by Richard Aldrich, it stars <a href="https://en.wikipedia.org/wiki/Ralph_Meeker" style="color: #954f72;">Ralph Meeker</a> (an underrated, underused actor) as Mickey Spillane’s brutal, granite-fisted hero, Mike Hammer. (Fun fact: Meeker replaced Marlon Brando as Stanley Kowalski in <i>A Streetcar Named Desire </i>on Broadway and is said by some to have been the better Stanley.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Also worth a ticket is <i>Odds Against Tomorrow </i>(1959) featuring terrific work from Harry Belafonte and Robert Ryan and direction from Robert Wise (<i>West Side Story, The Haunting)</i>. On the surface, it’s the story of a bank robbery gone wrong. Underneath there’s real drama in the racial conflict between the two leads, a misery still well with us. It’s a case where a film’s underlying themes actually are weaved within the drama rather than being forced upon it.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of the two real classics that close the festival, it’s impossible to say which is “Best of the Fest”, but Orson Welles’ <i>Touch of Evil </i>is definitely one of them. So much has been written about this film, it’s hard to say anymore, but suffice it to say, if you haven’t seen it, see it now, and if you have seen it before, see it again!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">One parlor game I never play is “What’s Your Favorite Alfred Hitchcock film?” because the Master made so many great films it’s impossible to decide. <i>Psycho </i>for one, stands among his greats not only for its direction, stark atmosphere, terrific score, editing, and acting, but also the underlying anguish in the colliding fates of Marion Crane and Norman Bates, which gives the film a hint of unexpected tragedy arising from pulp material. Knowing what’s to come, their final scene together is a sorrowful moment.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Everyone rightly mocks the penultimate scene (with poor Simon Oakland bravely wrestling through cornball Freudian speculations). It's my bet that if you cut that scene, you wouldn’t lose a thing and be left with a perfect movie in <i>Psycho. </i>The worst thing about it then becomes all the <i>terrible </i>imitations that have followed in its wake and still assault us sixty years on.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield is the author of <i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield/dp/0984775544/ref=sr_1_1?qid=1547750338&refinements=p_27%3AThomas+Burchfield&s=Books&sr=1-1&text=Thomas+Burchfield" style="color: #954f72;">Butchertown</a>,</i>a ripping, 1920s gangster thriller, which was praised as “incendiary” by David Corbett (<i>The Long-Lost Love Letters of Doc Holliday; The Art of Character)</i>! His contemporary vampire novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and<i>Dracula: Endless Night </i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he also published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-45622182031073806642019-01-16T15:17:00.002-08:002019-01-16T15:37:11.683-08:00The Word on "Murder": "The Word is Murder" by Anthony Horowitz<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRf9Cn-dTgHpN3ydhdT_HdpErANYdWgeuQhDkFdAkcmzh2Lv9eCcigf2RzytvPowfpUKudUkTDrYA_j77K6bBzdkgX6Hnx_nfEzW-Zgb25egtE9fMp9zCAJndelcDXeaVk1p2M_DimZxA/s1600/the-word-is-murder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="331" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRf9Cn-dTgHpN3ydhdT_HdpErANYdWgeuQhDkFdAkcmzh2Lv9eCcigf2RzytvPowfpUKudUkTDrYA_j77K6bBzdkgX6Hnx_nfEzW-Zgb25egtE9fMp9zCAJndelcDXeaVk1p2M_DimZxA/s400/the-word-is-murder.jpg" width="263" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">If <a href="https://www.anthonyhorowitz.com/">Anthony Horowitz</a> isn’t a more familiar name to you, he should be. Fans of the BBC known him firstly as the creator of <a href="https://www.foyleswar.com/"><i>Foyle’s War</i>,</a> among the best TV mysteries ever. Others know him as the author of the Alex Rider series of YA spy novels. On occasion, he turns his busy pen to more adult novels. His last, <i>Magpie Murders</i>, was a witty delight about the mores and conventions of the modern mystery, wrapped nicely around a good puzzle. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Now he’s sent two new books out the gate at once. One of them is <i>Forever and a Day </i>(a James Bond novel). What concerns us here is <i><a href="https://www.amazon.com/Word-Murder-bestselling-mystery-Murders/dp/1780896859#customerReviews">The Word is Murder</a></i>, a standalone follow-up to <i>Magpie</i>. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In <i>Magpie</i>, Horowitz cleverly touched on the tensions between fictional crime and real-life crime. In <i>The Word is Murder</i>, he goes farther and deeper with excellent results. It’s that’s rarest of books in this hyper-serious era—a genuine tour-de-force and a great excuse to stay put in your reading chair.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The novel opens with the last day in the life of Diana Cowper, a middle-aged Englishwoman and theatre enthusiast. She starts her day arranging her own funeral. By the end of it, she’s been murdered, strangled with a curtain rope.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Scotland Yard, as you’d expect, is baffled by a murder whose victim seems to have anticipated her own demise. For help, they turn reluctantly to Daniel Hawthorne, a former investigator, to help crack the case. Dismissed in disgrace from the force some years before, Hawthorne now freelances as a technical advisor to both BBC mystery shows and the Yard, two relationships driven by necessity and steeped in mutual distaste.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Hawthorne brings his own agenda to the hunt for Ms. Cowper’s murderer: He plans to publish a book about himself to settle some scores and restore his tattered reputation. No writer himself, this modern Sherlock Holmes needs a Watson to follow alongside as he brilliantly solves the murder of Diana Cowper, revealing his genius to the world.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">For his Watson, Hawthorne reaches out to a writer, a former client whom he advised on a previous BBC mystery show, a real one in fact, known by the title <i><a href="https://en.wikipedia.org/wiki/Injustice_(TV_series)">Injustice</a></i>. Its writer was a noted screenwriter and novelist, a guy named . . . Anthony Horowitz. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Like everyone else at Scotland Yard and beyond, once around the track with Hawthorne was enough for Horowitz. Even so, despite his reservations, he finds himself drawn to Hawthorne’s offer and the crime in question.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The collaboration is a rocky one from the start as Hawthorne rips up Horowitz’s first chapter (which you’ll have just read). His demanding presence knocks Horowitz’s writing life off its keel, culminating in a disastrous encounter between Horowitz, Hawthorne and two real-life pop-culture titans, a hilarious moment that will be an absolute hoot if it ever makes it to the screen.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Despite the chaos brought by Hawthorne, there’s nothing like murder to get a genre writer’s juices flowing and Horowitz, fascinated by his rather repellent but brilliant client, slowly becomes determined to stick with the case, no matter how obnoxious Hawthorne becomes or how great the dangers that lay in wait.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Anthony Horowitz clearly had a swell time weaving himself into his own novel. He makes the most of it as he deftly maneuvers that weird territory between the real-life creator of <i>Foyle’s War </i>and the meta-fictional Horowitz who becomes entangled in a mystery novel. What’s factual and what’s not is one of the book’s entertaining puzzles.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Word is Murder </i>could have wound up a dispensable bit of self-referential post-modernism but instead provides a vivid, funny look at the joys and frustrations of a successful writer’s life. It also explores the problems inherent in the creation of literary characters. Saints make for bad pasteboard heroes in fiction, but, we all wonder, how much bad can we put up with in our good guys? <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Hawthorne, you should know, is a flaming bastard, a bigot who’s smart about many things but ignorant of much else, a man sometimes deeply “unwoke.” He may be the intellectual equal of Sherlock Holmes, but he makes Holmes seem like Philip Marlowe as played by George Clooney.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Horowitz never answers this question—as a novelist myself, I’d say there really isn’t an answer beyond “whatever I think I can get away with.” But he makes it stick nicely in the memory, long after events draw to the suspenseful action-packed finish. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">While he can’t provide an answer regarding Hawthorne, Horwitz does provide an antidote with his charming and genial self-portrait. We learn a fair bit about Anthony Horowitz, the successful writer as he gracefully takes us behind the scenes of the world of TV, theatre and movie productions and even into the back parlors of the funeral business.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>The Word is Murder</i>is a fun read that leaves you thinking. I can’t wait for the movie. And I bet Horowitz can’t either. Read carefully, and you’ll find a clue as to whom he wants cast as Hawthorne. I don’t know about you, but I’ll be watching.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield is the author of <i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield/dp/0984775544?qid=1547679333&refinements=p_27%3AThomas+Burchfield&s=Books&sr=1-1&text=Thomas+Burchfield&ref=sr_1_1" style="color: #954f72;">Butchertown</a>,</i>a ripping, 1920s gangster thriller that was praised as “incendiary” by David Corbett. (<i>The Long-Lost Love Letters of Doc Holliday; The Art of Character)</i>His contemporary vampire novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and<i>Dracula: Endless Night </i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-35182436588141355442019-01-02T12:47:00.001-08:002019-01-02T12:47:46.204-08:00In the Beginning: "A Coffin for Dimitrios" by Eric Ambler<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Before British author <a href="https://ericamblerbooks.com/">Eric Ambler</a> came along, thrillers and spy yarns were mostly romantic affairs, populated by flag-waving heroes and brimming with manly idealism, jut-jawed jingoism, and, sometimes, a disturbing racism.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>There were exceptions: Both <a href="http://www.josephconradsociety.org/">Joseph Conrad</a> (<i>The Secret Agent</i>, 1904) and <a href="https://en.wikipedia.org/wiki/W._Somerset_Maugham#Religious_views">Somerset Maugham</a> (the “Ashenden” stories,1928), laid some groundwork for a greater “realism.” But all that had to wait until Eric Ambler’s second novel, <i>Background to Danger</i>(1937).<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i><a href="https://www.alibris.com/A-Coffin-for-Dimitrios-Eric-Ambler/book/1162809?matches=191">A Coffin for Dimitrios</a> </i>(1938) was the fifth novel Ambler wrote in his pre-WWII period. It stands tall among his classics, and firmly alongside other novels of its era. It tells the story of Charles Latimer, a minor scholar and old-school English mystery novelist (author of such cosies as <i>The Bloody Shovel </i>and <i>“I” Said the Eye</i>). While vacationing in Istanbul in the late 1930s, he meets a fan, the sinister and charming Colonel Haki, who may or may not work for the Turkish secret police.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Colonel Haki is thrilled to meet of one of his favorite mystery authors but adds that “I find the murderer in a <i>roman policier </i>much more sympathetic than a real murderer.” For reasons left unsaid, he shares with Latimer a dossier detailing the violent career of Dimitrios Makropoulos, a profoundly unsympathetic thief, murderer, assassin and drug-dealer. There’s also an important detail missing from the dossier: Dimitrios is dead, his corpse recently found floating in the Bosphorous straits. Who put him there, and why, is the mystery at the novel’s core.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Perhaps a little ashamed of his sheltered life, Latimer leaves his cosy world behind to launch an obsessive and dangerous plunge into the mystery of Dimitrios. The trail leads him through a shadow-riven Balkan landscape still haunted by World War I and seething with criminal intrigue as it gears up for the next one. As he wanders dank alleyways and cobbled streets, he encounters a parade of gamy characters and cruel deceptions, all of it glued together by that simplest and most reliable of motives, greed. <o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Ambler was a leftist radical during this period and salts his novel with numerous insights into the links between capitalism and crime. Along the way, Latimer winds up an early pioneer of the investigative practice of “following the money.” <o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>“The most important thing to know about an assassination or an attempted assassination,” Ambler writes in one of his most famous quotes, “is not who fired the shot, but who paid for the bullet.”<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>While the novel risks becoming a finger-wagging lecture, Ambler’s eye for detail, character and pacing keep the narrative rolling. He knew when to shut up and let matters speak for themselves. The money trail, convincingly laid out, leads to a conclusion that may not be too surprising to jaded modern readers but remains convincing and thrilling, while taking a witty final turn.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Another unique feature is the hero, Charles Latimer. Latimer is no Richard Hannay or proto James Bond, but a fumbling naïve academic who barely knows which way to point a pistol. It was Ambler’s unique insight that the ordinary man, the chap who winds up way in over his head, raises the stakes and builds a better foundation for suspense. To paraphrase Ambler fan <a href="https://en.wikipedia.org/wiki/Alfred_Hitchcock">Alfred Hitchcock</a>, Charles Latimer is a man to whom things are done as opposed to a man who does things to others. We worry what will happen to him and that makes for greater suspense than a thousand unkillable, unstoppable, immortal super heroes. Every man—and not a few women—like to think of themselves as Mr. Bond . . . but in reality we’re all closer, much closer, to being Charles Latimer.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Ambler’s steely gaze permeates the modern thriller. <a href="http://www.alanfurst.net/">Alan Furst</a> claims him as a direct inspiration for his pre-WW2 novels of intrigue (though Furst is much more the romantic), while his realistic approach to character can be found in <a href="http://www.kateatkinson.co.uk/">Kate Atkinson’s l</a>atest novel, <i>Transcription</i>. His name may not be spoken as it once was, but every thriller writer alive owes a deep debt to Eric Ambler.<o:p></o:p></b></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield is the author of <i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield/dp/0984775544/ref=sr_1_1?s=books&ie=UTF8&qid=1545242787&sr=1-1" style="color: #954f72;">Butchertown</a>,</i>a ripping, 1920s gangster shoot-‘em-up that author David Corbett (<i>The Art of Character</i>) called “incendiary!” His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and <i>Dracula: Endless Night</i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and <i>The Strand</i>. He also published a two-part look at the life and career of the great movie villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-90964144307065691592018-12-12T15:28:00.001-08:002018-12-12T15:28:23.726-08:00Music of the Song: The Beatles Live at the BBC<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>A Facebook friend recently lamented at hearing some vocal tracks off some very early recordings of some beloved 1960s pop artists. They sounded, he said, like “<span style="background-color: white; color: #1d2129;">a brace of baby chickadees peeping for seed.” It was, it seems, </span>the production team—the guys twirling the knobs, the session musicians who may have joined in later--who improved them into legends of their time, at least initially. But for that, how could they ever have reached the Top 1000, never mind the Top Ten?<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>From there, the thread briefly waded into the recording process, with discussions of “sweetening” and tape editing, including “Auto-tune” whereby poorly pitched vocals are corrected. Twirl a knob or two and a bleating goat becomes Pavarotti. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>It sounds like cheating, and I’d say it is. But it’s been a part of the record-making process in all genres since the first stereo and multi-track recording systems. Hardly anyone remarks on it anymore. Recording has become so hi-tech clever that some stars—Stevie Wonder and Paul McCartney pop to mind—can refashion themselves into one-man bands who work sans any studio musicians, playing all the music, all the instruments, every note and chord, all by themselves. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>God bless Stevie and Sir Paul, but I have to wonder. These musical octopi occasionally bring to mind the acts you see on TCM’s “Soundies” short films of the 1930s; or a street corner novelty act at Fisherman’s Wharf. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Sure, everyone loves a virtuoso, but I’m one of those who pore over liner notes, in search of my favorite guest and unexpected backup musicians. (“Clapton on nose flute!? Oh joy!”) At best, there’s no one in the studio to share a grin and a cheer: “Hey! We rocked that!” What they save in union wages is lost in the companionable glow cast by a band of musical brothers and sisters.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>While on the long Thanksgiving drive back from Pasadena, I by chance pulled out a double that featured Sir Paul’s old backup band from many years ago. It’s been many years since then, but it illuminated the difference between inherent greatness and greatness music that’s been auto-tuned into the Top Ten.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The album is <i><a href="https://www.amazon.com/Air-Live-At-BBC-CD/dp/B00F3VOL38/ref=sr_1_1?s=music&ie=UTF8&qid=1544656176&sr=1-1&keywords=beatles+-+live+at+the+bbc" style="color: #954f72;">The Beatles Live at the BBC</a></i>(released in 1994, with an expanded reissue in 2013). It’s the sole remnant of a once fair stack of Beatle bootlegs and ephemera I collected during my years as Beatlephile. Almost the entire pile was made of up stuff suitable only for serious Beatle-ologists (or the zombie fan who rifles garbage cans for tapes, like you know, of that time George accused Paul of using his guitar strings for dental floss).<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>I don’t think I listened to any of this material more than once. (Most of it the Beatles might well call “rubbish”). Except for <a href="https://en.wikipedia.org/wiki/Unfinished_Music_No._1:_Two_Virgins" style="color: #954f72;">that one</a>with the photo of John Lennon with his <i>schwanz</i>on display, I recall next to none of it. I finally sold them all off, with no regrets. From this, it would be fair to say that the Beatles, in their final product, got it exactly right and there really is little need for anymore for anyone (excepting for of course, scholars). As I recall George Harrison putting it sagely: “They’ve got thirteen albums. What more do they want?”<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>And so, of all the Beatle ephemera and re-packaging you could own, I would call <i>Live at the BBC</i>by far the best.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><i>Live at the BBC</i>is one of pop music’s greatest act as themselves, pure, unsullied outside protective studio walls, and stripped to its gears. It’s the band you would have heard if you happened to stumble into the Cavern Club in Liverpool or the Star Club in Hamburg, or any of the other venues they played in early days. (One other example is <i>The Beatles Live at the Star Club Hamburg</i>, a performance caught on a home tape machine, making it unlistenable, though it captures them at their most punk.)<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>It proves The Beatles didn’t need no stinkin’ Auto-tune.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Abbey Road studios, where the Fab Four made all their records, was nothing much when they walked in, in 1962. It wasn’t even called “Abbey Road.” Studio Two, to which they were assigned, contained was called a REDD mixing console, which I gather, was like the proverbial tin cans and string compared to today’s digital wonders.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Within that shelter, the Beatles didn’t need much sweetening, mind you, but there was some. George Martin (the true “Fifth Beatle”) was known for producing classical and comedy albums and light musical acts and wasn’t well acquainted with Rock n’ Roll (though the Beatles were big fans of the comedy recordings he made with Peter Sellers, Spike Milligan and the Goon Show). <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Martin muffled their sound a bit and would, among other things, add piano riffs. He also muted Ringo’s drums in order to bring John and Paul’s vocals to the fore. He said, maybe inaccurately, that fans didn’t care about drumming and, initially, he didn’t think much of them as musicians. (It was he who finally nodded Pete Best toward the door, opening the way for the pursuit of Ringo). It took awhile, but he changed his mind.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>After years of grueling work, the Beatles were getting noticed. As part of the marketing push, their brilliant manager, Brian Epstein, got them a gig on BBC radio. This was a very big deal—in those days there were only two radio stations in all of Britain, and, as now, only twenty-fours in a day.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>They made their first BBC appearance in 1962 for a live concert (when Pete Best was still with them). According to the CD liner notes, these recordings, while still extant, are of poor quality and hence left off both editions of this CD. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Finally, in January 1963, after the release of “Please Please Me,” they made their first major BBC appearance on “The Saturday Show,” broadcast to an audience of 10 million. From that point until June 1965, they appeared on fifty-two BBC radio programs, performing eighty-eight songs. Best of all, thirty-six of these songs never appeared on any of the official releases.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>John, Paul and George were still in the dawn of their songwriting career, so most of these songs were covers by the artists who inspired them most, especially Chuck Berry, Carl Perkins, and Elvis Presley. They do a great job with every song, bursting with both professionalism and raw enthusiasm. But again, their final decisions for album inclusion were the right ones.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>But the limits placed on them by playing in a radio station provide, for me at least, some of the most illuminating pleasures. These performances were recorded in mono, not four-track stereo, so the mixes are not what we hear on the studio albums. This is a sin for serious audiophiles, but for fans of their musicianship, the result is that Beatles rhythm section—Ringo Starr, drums; Paul McCartney, bass; and John Lennon, rhythm guitar—is brought into full light. You can actually hear all of them play their instruments, providing a worthwhile contrast with the studio albums.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>It’s especially true in the case of Ringo and Paul. The drummer is the engine of any band, the center out of which the music grows and springs. Ringo Starr is the most basic of drummers, but John, Paul and George pursued him for good reasons—the basics were exactly what they needed. Besides his own large fan base, he brought both raw power, plus a variety of styles and precise timing. He provided solid ground from which Lennon and McCartney and George Harrison could grow their songs. (Paul has described the moment when Ringo first played live with them and he realized he no longer had to look behind him to make sure the drummer was keeping up.) Whatever’s been said about Ringo outside the Beatles, for them, there could be no one else.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Paul McCartney’s bass playing also sounds a little buried in the studio albums. With the BBC album, though, you can hear him working the strings, growing from a young fella copying Chuck Berry’s bass-lines into what many call rock n’ roll’s greatest bass player, his playing growing more fluid and elaborate, maybe reaching its peak with <i>Abbey Road</i>(where Ringo also excels).<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>In the fifty years since they first appeared, the Beatles have always flowed but never seemed to ebb. Like all great artists, their music has defied both relentless time and fickle fashions. <i>Live at the BBC</i>shows the roots of it all, shows that some artists don’t need no stinkin’ auto-tune. The Beatles remain a soundtrack for the world.<o:p></o:p></b></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Thomas Burchfield’s <i><a href="https://www.amazon.com/Butchertown-Thomas-Burchfield-ebook/dp/B071YQK19H/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1544656067&sr=1-1" style="color: #954f72;">Butchertown</a>,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: Times New Roman, serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-42697185238134830762018-11-28T14:34:00.002-08:002018-11-28T14:37:34.994-08:00Living Room Bijou: Dogs and Scruggs<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rZxPvvN_L_xZ7K93fwlxSGB8ZL0UMr-R9Qu92IWP5trkYxeFr6t_1vbp9Vzq8iMH-cCGTr8JEQrSBpEc-NghEQfZJhVkgA4kyToMJ2RedDCjNU8YYPbIj04ICXr35S-WZdCmKdvZRgo/s1600/The_Ballad_of_Buster_Scruggs-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rZxPvvN_L_xZ7K93fwlxSGB8ZL0UMr-R9Qu92IWP5trkYxeFr6t_1vbp9Vzq8iMH-cCGTr8JEQrSBpEc-NghEQfZJhVkgA4kyToMJ2RedDCjNU8YYPbIj04ICXr35S-WZdCmKdvZRgo/s400/The_Ballad_of_Buster_Scruggs-04.jpg" width="400" /></a></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Along with so much else, the 2018 holidays have taken a strange turn. Even the climate of holiday movies has shifted. For as long as we can remember, starting at Thanksgiving, Hollywood has rolled out its big pictures for the year: If it’s not <i>Star Wars, </i>it’s James Bond; if not Bond, then Peter Jackson or Michael Bay might lumber out with another Hobbits Meet the Transformers epic, or something equally overweight or overwrought.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This blighted season, however, there seems to be no must-see for-everyone movie, nothing to get us out of the house during those afternoon dead spots when the turkey is cooling down. The closest candidate seems to be the katrillionth version of <i>Robin Hood</i>, which, early reviews indicate, is yet another go round that leaves Errol Flynn and Michael Curtiz securely laughing on their heavenly thrones. (Think about it: <i>eighty years </i>and <i>no one</i>has bettered Mr. Flynn as Robin Hood. On that score, Hollywood should bury the Robin Hood story in a tomb and just re-release the 1939 version forever. Take it from me and a million others: stay home with Errol Flynn.)<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In fact, you might as well stay home in front of a warm TV. And, if not for its ferociously mature content, I’d partially recommend <i><a href="https://www.netflix.com/title/80200267" style="text-decoration: underline;">The Ballad of Buster Scruggs</a></i>, the latest offering from the remarkable, always interesting, Joel and Ethan Coen, now available on Netflix.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Buster Scruggs </i>combines two movies we see little of nowadays: 1) a Western and (2) a portmanteau movie. Anthology movies are most always a mixed bag and this one is more mixed than most, a weave and jumble of old styles and contemporary attitudes as seen through the Coens’ amused and bleak gaze.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The film frames its six stories by use of a facsimile of a western anthology of the type written in the 1900s by <a href="https://en.wikipedia.org/wiki/Stewart_Edward_White" style="text-decoration: underline;">Stuart Edward White</a>, illustrated in the manner of <a href="https://web.archive.org/web/20100912203905/http:/www.americanillustration.org/artists/wyeth_nc/wyeth.html" style="text-decoration: underline;">N.C. Wyeth</a>. It’s a pleasing nod to an old Hollywood style of storytelling.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">First comes the title story, featuring Tim Blake Nelson as Buster Scruggs, an immaculately white-clad cowpoke, strumming his guitar, singing a song, riding along through John Ford’s Monument Valley and right into bullet-packed trouble. As we learn at slapstick speed, his sugary exterior is a mere shell laid over a hair-trigger pistol-spinning psychopath.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The joke is a bit obvious (or maybe I’m a bit old) and B-movie cowboys, such as Gene Autry and Roy Rogers, are fat targets for parody. But thanks to Nelson’s indomitable cheer, along with the Coens’ visual imagination and slapstick flair, the sequence is very funny, involving a swell gag involving a poker table, followed by droll visions of angels.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">From there, slapstick turns to farce with “Near Algodones.” James Franco plays a luckless bandit whose brief career runs through one necktie party after another. (We picked up on hints of <i>Hang ‘Em High</i>among other references.) There’s a clever line near the end, but the jokes go flat here.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">“Meal Ticket” is memorable almost solely for its conceit: Liam Neeson plays a traveling freakshow impresario whose sole attraction is “The Wingless Thrush.” The Thrush is an armless, legless actor (well played by Harry Melling, a Harry Potter alumnus) who recites Coenesque mashups of Shelley’s “Ozymandias”, the Bible, Shakespeare and Lincoln’s Gettysburg Address, to audiences of bored, lonely miners trapped in wintry mountain camps. <o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The sequence is mostly a series of dissolves with the camera fixed on Melling’s face as he recites his way through the classics of nineteenth century literature, smoothly edited together to remind us of the Coens’ manner of blending tropes and genres. To the Impresario, the Thrush is but a fancy windup clock. Outside issues of bodily functions—one of them provoking a brief bark of sick laughter— the two men never interact.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The freak show is a success at first as it wanders from camp to camp, but as it goes on—and it does go on—the takings start to dwindle (along with, I admit, my interest). Finally, weary of having to wait um hand and foot on his charge, Neeson resorts to desperate measures to turn his fortunes after an encounter with a calculating chicken. </span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">For a minute, as my ever-clever wife remarked, it looks as though the sequence would climb the sublime heights of “<a href="https://www.youtube.com/watch?v=6wd_6Y0wQOA" style="text-decoration: underline;">One Froggy Evening</a>.” I have little doubt the same idea crossed the Coens’ devilish minds--it sure would mine--but they seemed content to leave it as an anecdotal campfire tale.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The same may be said of the following sequence, “All Gold Valley,” adapted from a Jack London story. Tom Waits channels <a href="https://en.wikipedia.org/wiki/George_%22Gabby%22_Hayes" style="text-decoration: underline;">Gabby Hayes</a> as a gold prospector who lays waste to a pristine mountain paradise. In fact, it’s Tom Waits all by his lonesome until the very end. The underlying environmental message, however, sparks little interest, putting this sequence near the bottom of the pile. But even with the worst westerns, there’s always the scenery to look at. That applies here, too.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The Coens do finally strike real gold with the fourth tale, “The Girl Who Got Rattled.” Adapted from a story by Stuart Edward White, it’s much the best by a prairie mile.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">We meet a young woman (Zoe Kazan) and her bull-stubborn, incompetent brother on a wagon train to Oregon. After her brother dies, she’s drawn into a poignant encounter with the train’s wagon masters, played by Bill Heck and Grainger Hines. </span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">For once the Coens drop their trademark snigger and chilly post-modern detachment to tell a sad, but thrilling yarn in eloquent but plain style and with heart—something we don’t often see from them. For once, they stop looking down on their characters and try to engage them eye to eye. With simple but excellent compositions by cameraman Bruno Delbonnel and sets and lighting by God, it’s a golden pleasure to watch.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It brings back memories of many a good western of old, including those directed by Budd Boetticher and Anthony Mann. Zoe Kazan is excellent, but someone should cast both Bill Heck and Grainger Hines in another western as soon as possible. Both actors bring saddle-weary truth to their roles, proving that Randolph Scott still rides.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Unfortunately, the movie loses a shoe and goes lame at the end with “Mortal Remains.” The pyrite of the lot, it’s a <i>Stagecoach </i>Meets <i>Twilight Zone </i>affair whose ending we saw comin’ ‘round the mountain long before its gabby characters did, in a tale more static than claustrophobic. Death is rarely a surprise in a Coen Brothers film and it’s sure no surprise here.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Grumbling aside, it’s pleasing to see filmmakers like the Coens once again tackle the western, as they did so well in <i>True Grit</i>. At its best, <i>Buster Scruggs</i><i style="font-style: normal;"> </i>is an expression of both deep love for and ambivalence toward this most American of film genres. Even so, it runs hot only once and lukewarm-to-cold for the rest. It’s no holiday movie, but one for late night, after children and more sensitive souls have long gone to bed and into dreams of angels and sunny prairies.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">We saw <i>Buster Scruggs </i>before Thanksgiving was even on us. During Thanksgiving, the TV sat like a plain black rectangle as we preferred the state of hypnosis induced by a jigsaw puzzle. It wasn’t until Friday, with almost everyone else gone, that we noticed the TV in the room—not for a jumbled epic, not for some antic thriller, but for a Netflix documentary about . . . dogs.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i><a href="https://www.netflix.com/title/80191036" style="text-decoration: underline;">Dogs</a> </i>(an on-the-wet-nose title to be sure), is a six-part documentary series about the roles that dogs play in the lives of the neediest among us. We’ve only seen two chapters so far and have been enchanted and moved.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The first episode, “The Kid with a Dog,” deals with Corinne, a severely epileptic teenage girl who’s so in the grip of her condition that she can never ever be left alone, not even in sleep. Her family is committed and loving, but even they are cracking under the strain by the situation. Finally, they turn for help to a “labradoodle” named Rory who’s been trained to detect seizures and raise the alarm when they arrive.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">“Bravo Zeus,” the second episode, follows Ayham, a refugee from the <a href="https://en.wikipedia.org/wiki/Syrian_Civil_War#Drought" style="text-decoration: underline;">Syrian Civil War</a> who now lives in lonely exile in Berlin, Germany. With the help of an NGO, <a href="https://www.facebook.com/animalssyria" style="text-decoration: underline;">Animals Syri</a>a, he arranges to smuggle his beloved (and very charming) husky, Zeus, from the horrors of war-torn Damascus. Next to this real-life story, most fictional thrillers look a little pale.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The series theme song is the worst sort of treacle, but feel free to plug your ears. Once we got past that, we found both stories deeply moving and hair-raising in their own fashion (even for this cat lover). While portraying the emotional bonds between people and their pets, it also, without making too much of itself, hints at some of the wider complications lurking about.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Rory’s work, while greatly easing the strain, only goes so far in helping Corinne’s family, as her mother must still sleep in the same room with her. Their future still looks bleak. Dogs can do a lot but they can’t do everything.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As for Ayham and Zeus, a utilitarian ideologue (among other moralists) will reject Ayham’s priorities and ask whether any resources should be spent at all on “mere pets” in the midst of so much human suffering.<o:p></o:p></span></div>
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<span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It might be better though to save our fury for the war from which man and dog fled. When Zeus comes bounding into the airport and into Ayham’s arms, objections fall away and Love remains standing.<o:p></o:p></span></div>
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<b><span style="color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="text-decoration: underline;" target="_blank">Dragon's Ark</a> won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="text-decoration: underline;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="text-decoration: underline;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="text-decoration: underline;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="text-decoration: underline;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="text-decoration: underline;">Bright Lights Film Journal</a> and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-54801738093201904292018-11-14T11:17:00.000-08:002018-11-14T11:31:39.457-08:00Living Room Bijou: The Haunting of Hill House, 2018<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">With the end of <i>The Haunting of Hill House</i>, the <a href="https://www.netflix.com/Title/80189221" style="color: #954f72;">new Netflix series</a>, in sight, my wife said to me, “You know what? I bet they’ve been trapped inside the house all along. Their whole lives have been a dream created by the house.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It would have been a good bet, a fine bet. If only she were right. Because until it collapses in the final episode, <i>Hill House </i>looks like it’s on its way to being a really good, if not great, horror series.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It had some big shrouds to fill. The first was <a href="https://en.wikipedia.org/wiki/The_Haunting_of_Hill_House" style="color: #954f72;">Shirley Jackson’s classic 1959 novel</a>. Then came the still-peerless, 1963 film <i>The Haunting</i>, directed by Robert Wise and starring <a href="https://en.wikipedia.org/wiki/Julie_Harris_(actress)" style="color: #954f72;">Julie Harris</a>, giving her all in a performance that improves with every viewing. The film ranks high on lists of great supernatural films, including mine.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The series, conceived and directed by Mike Flanagan, re-imagines the story in ambitious fashion while striving to remain true to the spirit of the originals. It expands in both place and time while breaking down and rebuilding its main characters, creating a ghostly family saga. Like all prestige series, it’s a novelistic sprawl that also owes a lot to such classic horror novels as <span class="MsoPageNumber"><a href="http://peterstraub.net/" style="color: #954f72;">Peter Straub’s</a> <i>Ghost Story</i>.</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Instead of the lonely, high-strung, ultra-sensitive, Eleanor “Nell” Vance, we’re presented with a whole family of Eleanors, headed by Hugh and Olivia Crain and their five children: Steven, Shirley, Theo, Luke and Nell. (Fans of the original know the names.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Hugh and Olivia are house flippers. As shown in flashbacks, they purchased Hill House in 1992, planning to move in with their children, remodel it and then sell it and build their “forever house” with the profits. But the project goes terribly wrong: Olivia dies mysteriously and the rest of the family flees in terror (“in the night . . . in the dark” to quote a classic line).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The resulting trauma scatters the surviving Crains across the country, leaving them estranged, broken, vulnerable. Then, twenty-six years later, Nell, the youngest, returns to Hill House, where she too dies. Her death reunites the Crains once again, forcing them to relive and confront the terrors of that night long ago.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Hill House </i>creeps and shudders with promise. It slowly conjures a sense of incident, character and place as it weaves back and forth in time (though sometimes it loses it place.) There are also small pleasures, such as a brief appearance by <a href="http://www.russtamblyn.com/" style="color: #954f72;">Russ Tamblyn</a>, the last surviving cast member of the 1963 film.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">There are several unnerving moments, some good jolts and, occasionally, that poetic unease that marks the best ghost stories, where the floor on which we all stand crumbles under our feet and reality turns unreal. Impossible things happen and we’re left mute and alone, our poor words no match for the horrors we’ve experienced. The show offers little nuggets of insight into the multiple meanings that lurk behind this most literary of horror’s subgenres. Ghost stories are devilishly hard to get right, but <i>Hill House </i>shows great flashes of promise.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of the ten episodes, episode five stands out. Set mostly in one location, Shirley Crain’s funeral home, the direction, staging and dialogue reminded me of a chamber drama (or “ghost play”) by Eugene O’Neill or <a href="http://edwardalbeesociety.org/biography/" style="color: #954f72;">Edward Albee</a>(particularly <i>Tiny Alice,</i><i>A Delicate Balance</i>or <i>Who’s Afraid of Virginia Woolf</i>). Both playwrights knew a thing or two about hauntings.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The funeral parlor is a stark barren blue-gray box, cut off from the world with the Crain family the souls lost in its emptiness, talking and raging at one another but unable to connect. The episode ends on a note of superb horror as we learn what’s behind the apparition known as the Bent-Neck Lady, a revelation cruel and disturbing.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But with all its virtues, in details large and small, there’s a sense of things coming up short.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">For one, the opening voice over, taken directly from the novel’s unbeatable opening lines, is prosaically handled, read in bland tones.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Refiguring the characters and then scattering them across space and time also diffused both my interest and sympathy. To convince us that the Crains are a real family, the production cast sisters Olivia, Shirl, and Theo with actors who look too much alike for clarity (though Nell and Luke, who are fraternal twins, look quite different.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The cast certainly works hard, with Carla Gugino (as Olivia), Kate Segal (Theo) and Oliver Jackson-Cohen (Luke) as the standouts. But, by my lights, none of them touch the raw shivering nerve that is Julie Harris.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ms. Julie Harris</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">There’s another misstep with the portrayal of the Dudleys, Hill House’s caretakers. Fans of the original will remember the living skeletons from the 1963 film, especially Mrs. Dudley, then played by <a href="https://en.wikipedia.org/wiki/Rosalie_Crutchley" style="color: #954f72;">Rosalie Crutchley</a> as a near-ghost herself. This time, Mrs. Dudley is a Christian fundamentalist who later evolves into an earth mother, while Mr. Dudley becomes a mellow old hippie. Hill House is supposed to shred the soul of all those in its shadow, but somehow it missed the Dudleys. You’d think they’d be mad as hatters, but here they’re a pair of mellow Air BnB hosts.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">And then comes the final episode—which is just awful. Whether for commercial considerations, or just plain soft-heartedness, the series clumsily contrives what one commentator described to me as a “Spielbergian” conclusion—a “happy” ending that ties together all its threads in a warm hug, larded with ham-handed dialogue ripped from Oprah and Dr. Phil. Ideas better implied are served up on platters of homily. It’s a big letdown that undercuts both its ambitions and Shirley Jackson, as we find out that the big nasty old house isn’t so big and nasty after all.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">And, that at last, brings us to my biggest problem with <i>Hill House</i>. And that’s Hill House. And for that we turn back again to the first adaptation, <i>The Haunting</i>.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>From the 1963 film, the real star of the show.</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">From the very first frame of <i>The Haunting</i>, we know Hill House is bad, no question, full stop. Thanks to Robert Wise (who apprenticed with Orson Welles and Val Lewton) and his team, there is no doubt that Hill House is alive, hungry and deadly. It <i>breathes</i>with foul life, perfectly captured in the opening sequence that tells the ghastly history of the place with unnerving brio. Everything about the House is slightly off, reflecting Shirley Jackson’s powerful prose. Even the daylight scenes feel wrong, with that hideous statue of Hugh Crain and family looming at the edges, where the film’s direction always keeps us looking. Ghosts, angry and alone, follow us everywhere. As Eleanor Vance and the house become one, there’s no doubt that Hill House is the real star of <i>The Haunting</i>.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Unfortunately, the new rebuild recasts Hill House as a supporting character. It seems like a perfectly nice bourgie pile, plush, elegant and harmless. It never feels like a bad place. There may be ghosts, but they don’t live in its bones. The spirits in it walls are absent. With all the time-shifts, there were even moments when I couldn’t tell if we were there or not and the occasional M.C. Escher tricks of perspective amount to little.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In the end, <i>The Haunting of Hill House </i>fails to haunt despite its fine intentions. Clearly, they should have listened to my wife.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now available. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-83459064645370856252018-11-07T13:17:00.006-08:002018-11-07T14:03:00.096-08:00Thoughts on "Brighton Rock" by Graham Greene<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><a href="https://www.amazon.com/Graham-Greenes-Brighton-Compass-Books/dp/B00IIYXLTW/ref=sr_1_2?s=books&ie=UTF8&qid=1541624457&sr=1-2&keywords=brighton+rock+graham+greene"><i>Brighton Rock </i> by Graham Greene</a>, first published in 1938, is both a dense, exquisitely written suspense novel and an unusual book for our more explicit age. In elusive, poetic style, it tells the story of a cold-blooded young murderer, his sordid milieu, and the passions and events from within his world and without that finally do him in.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>We first experience the bleak underworld hiding behind the hectic, colorful façade of <a href="https://en.wikipedia.org/wiki/Brighton">Brighton</a>, the famed English resort, through the eyes of Fred Hale. Fred is a small-time crook who’s returned to Brighton for a legit gig as a wandering mark for a newspaper competition.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>But Fred’s return home turns out to be a bad idea. Before he left the first time, he’d grassed a local gang leader to the law. Fred tells himself all has been forgotten, but, as he learns, memories die hard—especially for Brighton’s new underworld boss, someone far outside both law and decency.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>“Pinkie,” as the new boss is called, is but a boy of seventeen, but what a boy! Raised in a pious Catholic household, he rebelled and signed up with the devil, full stop. A pure sociopath, he seethes with cold rage and disdain for all forms of decency. Ironically, his severe Catholic upbringing has left him with a prissy revulsion toward booze and sex, making into him a perverse monstrous ascetic.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Pinky cuts through it all like his treasured razor and with which he rules his gang. They’re a grubby lot who, considering they’re all older, should be his mentors, but are too dissolute and half-witted to resist Pinkie’s ambition.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>“He wasn’t made for peace,” Greene writes in his exquisite prose. “he couldn’t believe in it. Heaven was a word. Hell was something he could trust.”<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>But once poor Fred falls under Pinky’s knife, the boy finds he can’t put much trust in Hell either, as his actions have consequences far beyond his control.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>For one, the alibi Pinky’s constructed to cover the murder starts to crumble, thanks to the innocent actions of Rose, a naïve young waitress who crosses paths with both victim and killer in the hours before the murder.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Desperate to cover his tracks, Pinkie concocts a daft scheme to seduce and marry Rose to keep her from testifying against him. Hopeless, on the one hand, because both of them were raised Catholic; on the other hand, Pinky, despite his hard heart, can’t keep Rose’s blind dedication from prying open his soul and letting the light in.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Pinky faces yet another threat from Colleoni, a big-time London gangster who’s moving in on Brighton. To him, Pinkie and his gang are mere grubs.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>As for the good guy, Greene pulls a neat surprise by offering up an inverted Miss Marple. Her name is Ida, a classic free-spirited prostitute with a heart of gold and driving sense of justice and decency. (In Greene’s world, she’s as good a Catholic as any and certainly better than some.) She befriended Fred and saw both him and his killer together just moments before the murder and now burns with a desire to find justice for the victim, with the help of the other knockabout denizens of her world.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>With Ida on his trail, Pinkie doesn’t stand a chance.<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Brighton Rock</i>is gorgeously written, with Greene’s precise prose brilliantly capturing Brighton’s underworld and its sun-splashed funhouse facade. The novel may be slow for modern tastes. The violence is handled with British restraint: Some of it takes place off the page, while other incidents are captured in elusive, impressionistic fashion. There are some muddled moments: The official inquest brushes away Fred’s murder as a heart attack while the police seem remarkably absent until the stormy windswept climax (all the more to keep our eyes on Ida).<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Richard Attenborough before he was "Sir"</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Greene called <i>Brighton Rock </i>one of his “entertainments” as opposed to his dramatic interior-set novels, such as <i>The End of the Affair. </i>It's been adapted for the stage once and twice for the screen: once with noirish flair in 1948, starring <a href="https://en.wikipedia.org/wiki/Richard_Attenborough">Richard Attenborough</a>, who makes Pinkie into a most chilling cherub. (I've not seen the adaptation from 2010.)</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Nowadays, that notion has been flipped, with Greene’s “entertainments” drawing much more attention. <i>Brighton Rock </i> is a serious work with a strong sense of emotional and moral claustrophobia, of a world hermetic, seemingly remote, but as close to the everyday as a window pane.<o:p></o:p></b></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-63571418561242217762018-11-01T09:32:00.001-07:002018-11-01T09:44:07.864-07:00Lost Letters and Poisoned Soil: The Long Lost Love letters of Doc Holliday and Broken Ground<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">David Corbett has been writing literary thrillers ripe with evocative style, acute drama and fierce commitment for many years. With <i><a href="https://www.amazon.com/Long-Lost-Love-Letters-Doc-Holliday/dp/1626949212/ref=sr_1_3?s=books&ie=UTF8&qid=1541089231&sr=1-3&keywords=David+Corbett">The Long-Lost Love Letters of Doc Holliday </a></i>he turns his hand to comparatively lighter fare, resulting in a colorful exciting yarn that whips together both the Old and the New West, a blend of modern intrigue and old-fashioned shoot-‘em-up.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">There’s a clever idea at the core of this action-packed tale. Legendary Old West gunslinger Doc Holliday was a more complex man than myth, legend and Hollywood would have him. Weaving through his tumultuous life was a gold thread of passion that bonded him and his cousin, Martha (“Mattie”) Anne Holliday. For several years, they exchanged love letters, letters that were eventually lost, apparently destroyed by Mattie following her entry into a convent and Doc’s death in 1887 at age 36, from tuberculosis.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But, this novel asks, what if these letters, shining with the grand passions of the 19<sup>th</sup>century, turned out to be still extant? To paraphrase <a href="https://en.wikipedia.org/wiki/A_Fistful_of_Dollars">one classic Western film</a>, there’s a lot of money to made in a scenario like this.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Into this thicket comes Lisa Balamoro, a partner in a San Francisco law firm that usually represents artists. Lisa is something of a character in the Eric Ambler mold—ambitious, talented, perhaps well-meaning but, even though scarred by trauma, not exactly worldly wise.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Suitably blinded by ambition and not a little greedy, she’s also got a hankering for the man who brought her the Holliday letters: Tuck Mercer, ex-rodeo cowboy, ex-con and infamous forger of Old West Masters, such as Fredric Remington. Tuck now works as an art detective, helping art buyers distinguish between the fake and the real. When Lisa looks at Tuck, she not only sees a rough and tumble, good-lookin’ cowboy, but also reflections of her own trauma.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As Tuck tells it, he was brought the Holliday letters by Sophie, an alleged descendant of a Holliday family servant. Sophie asked Tuck to authenticate the letters with the intent of willing them to her granddaughter, Rayella. But before that could happen, Sophie died. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Rayella, now in possession of the letters (and backed by her own, rather unusual posse), is desperate for money. Tuck agrees to help her find a buyer, whether the letters are authentic or not. (Interestingly, there is an actual market for “genuine” fakes.) Given his criminal history, though, Tuck needs to stay in the brush, leaving Lisa to represent Rayella in the sale.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Soon we meet the buyer: a wealthy and retired Arizona state judge named Littman—gleaming on the outside, rotten and vile on the inside, a greedy committed racist who lives in remote desert compound from where he terrorizes illegal migrants. Lisa and Rayella journey to Tucson to sell the letters to Littman, only to walk into a trap that involves much more than the provenance of some old letters that may or may not be genuine.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It’s a tantalizing situation with a terrific payoff, thanks not only to Corbett’s fine writing and pacing, but in his portrayals of Lisa, a woman who finds herself a pawn in a game of deceit and danger where no one can be trusted, not even her clients; and especially not the colorful charming bad boy who roped her into this mess.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The novel is interspersed with the purported letters between Doc and Mattie, written in fine and elegant 19<sup>th</sup>-century style, when even a desperado might express himself in high style. Suffused with a golden aura, they make for a poignant contrast between a seemingly more romantic era and our shrunken money-minded time. Back then, it seems, many men and women strove to find their better angels, while our age seems to value money, power and dominance above all. Even though the novel closes on a note of high romance, it leaves an undertone of bittersweet loss.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It’s a little harder to address Joe Clifford’s <i><a href="https://www.amazon.com/Broken-Ground-Jay-Porter-Clifford/dp/1608092437/ref=sr_1_1?s=books&ie=UTF8&qid=1541089465&sr=1-1&keywords=Broken+Ground+Joe+Clifford">Broken Ground</a></i>, mainly because it’s the first novel of his I’ve read while also being the fourth in his Jay Porter series. The series tells of the struggles of a recovering addict and his efforts to stay afloat and sane in wild rural New Hampshire and away from the violent intrigue that keeps washing around his feet.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Among his many issues, Jay is dealing with the death of his brother Chris some years before, after police killed him during a psychotic episode. Chris had uncovered some crucial evidence concerning criminal actions by the Lombardi family, construction magnates, whose empire rests on poisoned ground (based, it’s said, on the family of Paul Manafort).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Readers of the first three novels will be ahead of the rest of us as I occasionally got lost trying to tie in the threads from the previous books. I also found the sex scenes to be overblown (a common problem in contemporary fiction), <i>Broken Ground </i>is a good tight rural thriller in the manner of <i>Winter Bone</i>. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Best of all is the character of Jay Porter, an enjoyably rowdy, difficult and even dislikable fellow. Like so many who struggle with addiction and its related problems, he’s deeply self-centered, prone to inappropriate outbursts, and unable to fully relate to anyone. He even ruins his professions of love with such lame outbursts as “It was the best sex I ever had!”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Some may demand fictional characters you can take home to your Veggie Feminist Mom. But Jay Porter, I’m glad to say, is not one of them. You may actually want to pop him one from time to time, but you may also want to stick with such a refreshingly difficult troublemaker in his often clumsy search for justice and truth in the wintry violent side of rural America.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now available. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night</i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-36019834277335943872018-10-11T10:35:00.000-07:002018-10-17T15:54:48.938-07:00Gordon Lightfoot: The Music of the Song<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">You can blame him, you can thank him, but Johnny Cash is the one who led me to being a <a href="http://www.gordonlightfoot.com/" style="color: #954f72;">Gordon Lightfoot</a> fan.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As a boy in upstate New York’s Hudson River Valley, in the 1960s, I spent countless hours listening to Cash’s music from an older brother’s record collection.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Come 1972, I’d been living in the middle of Wisconsin for six years, with much of my childhood sent to the attic, when I bought my first Gordon Lightfoot album, <i>Don Quixote</i>. (Johnny must have been lurking somewhere.) Then I started telling people about Lightfoot and made a sad discovery: I seemed to be the only one in town, in the entire state, and, as I came to believe, the world, who found Lightfoot’s music absorbing and enchanting.<o:p></o:p></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As it was with Ennio Morricone, with Lightfoot, I was a bit ahead of the curve.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It may have been his name that caused resistance—“Lightfoot” easily translates to “Lightweight” to boozy barroom wags. It sounds like something cooked up by Henry Willson, the Hollywood agent who coined “Tab Hunter,” “Rock Hudson,” “Troy Donahue” and other 1950s beefcake monikers.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Worse, he was a <i>Canadian </i>who wrote “silly love songs.” His bold baritone voice could soar like a hawk or bounce along on high mountain streams of melody, but it may have sounded too much like the crooners despised by my generation as a tribal duty—Sinatra, Tony Bennett, Sammy Davis Jr among others.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">To <i>those</i> people, Lightfoot seemed as square as <a href="https://en.wikipedia.org/wiki/101_Strings" style="color: #954f72;">the 101 Strings</a>. He couldn’t be taken seriously. And neither could his fans. “Burchfield knows shit about music,” they whispered. “Keep him away from the turntable before he plays the Tijuana Brass.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But that was fifty years ago. Gordon is still kicking about and now there’s a major biography: <a href="https://www.amazon.com/Lightfoot-Nicholas-Jennings/dp/0735232555/ref=sr_1_1?s=books&ie=UTF8&qid=1539279173&sr=1-1&keywords=lightfoot+by+nicholas+jennings"><i>Lightfoot </i>by Canadian journalist Nicholas Jennings</a> demonstrates that not only were the naysayers around me wrong, but so was I.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Lightfoot </i>is workmanlike journalism, at times becoming a buzz of travel and tour dates. Lightfoot’s life follows the familiar track of other showbiz bios: years of hard—really hard—work, then fame, then problems with wives, other women, temper, addiction (in his case, the demon rum), followed by recovery, eclipse, then in his “Sundown” years, a revival as the world softens its scowl and even the grouches embrace him.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Most of this is interesting in a variety of ways. Lightfoot provides his own written accounts throughout and he writes very well. However, the book seems more for serious Lightfoot fans than general readers. What I found most interesting is how, even though he remains loyal to his Canadian roots, Lightfoot has traveled the world and hobnobbed with a remarkable range of people. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">My outsider’s sense turns out to be false, as Jennings reveals the extent of the admiration and acclaim Lightfoot’s music received from his peers, ranging from Paul Simon through Harry Belafonte (who recorded four Lightfoot songs), onto Streisand and Elvis, Robbie Robertson, Neil Young, Paul Weller (of the punk band The Jam) and, finally, Nobel-winner <a href="http://www.lightfoot.ca/influcby.htm" style="color: #954f72;">Bob Dylan</a>, who’s said, "I can't think of any Gordon Lightfoot song I don't like. Every time I hear a song of his, it's like I wish it would last forever."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Yeah, they laughed at me . . . but the guy on the right . . . .</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Jennings also makes a good case for Lightfoot being a better lyricist than I even thought. I still smile at his witty turns of phrase in his very early songs, such as “Rich Man’s Spiritual,” “I’ll Be Alright,” and “(That’s What You Get) For Lovin’ Me.” Lightfoot now disdains the latter for its vile misogyny, but this cad’s absurd ode to his bad self remains a wickedly funny song, one you sing with a bad-guy sneer and a “BWA-HA-HA!” In these songs, Lightfoot shows a sharp eye for human hypocrisy and self-delusion.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>Gordon and Johnny</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As he moved along, though, the wit seems roll out as other themes rolled in (though it still peeks through in the classic “Sundown” line “Sometimes I think it’s a sin/ when I feel like I’m winnin’/ when I’m losin’ agin.”) <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">He wrote numerous protest and topical songs. Of these, “The Wreck of the Edmund Fitzgerald” “Circle of Steel” and “The Canadian Railroad Trilogy” (the unofficial Canadian national anthem) still sound gorgeous, as does “Too Late for Prayin’”, a tune now more relevant than ever. There are great sailing songs (“Christian Island”), road songs (“Somewhere U.S.A”), and of course, love tunes. (“Beautiful” now seems to be a standard at weddings all over.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Lightfoot’s best lyrics deal with the torments and tangles of romance and marriage—(“cheatin’ songs” they call ‘em.) There is, of course, “If You Could Read My Mind,” the anguished cry of dying passion spun like a tragic fairy tale, a song torn from Lightfoot’s failing first marriage. By Jennings’ account, Frank Sinatra may have found it too much—he walked away from the podium in mid-phrase as Lightfoot looked on in the recording studio.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">“Sundown” of course, is a classic in erotic paranoia. Digging down deep into Lightfoot’s large catalog, there glitter many other gems of romantic despair and domestic travail: “The Circle is Small”; “Talking in Your Sleep”; “My Pony Won’t Go”; “Can’t Depend on Love” and, especially, “Cold on the Shoulder” a growling bluesy folk piece about a guy accusing his girl of cheating while his own muttering suggests he’s no pillar of virtue either. All these songs—and others—are a delight to the ears.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Still, I believe song lyrics exist to serve the music, and therefore, they often fail to stand on their own as pure poetry does. It’s always about the music: the melody, the chords, the bass, the rhythm, how it’s all brought together, the feelings more than the thoughts. Any songwriter can stand for and against all the right stuff, but if their music isn’t all there, a career in electoral politics is a better way to move the world.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Jennings’s book lets Lightfoot’s musical side slide, maybe because the subject is hard to tackle without sounding like a pedant. I’m uncomfortable writing about music but stick with me while I give it a shot.<o:p></o:p></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Because Gordon Lightfoot wrote beautiful songs, wrote them by the carload.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">With Lightfoot songs, the music is all there. At a time when musicians seemed to be running out of melodies, Lightfoot poured them out in a near-endless stream of buoyant, catchy tunes that leap along like a fast river, before bouncing and soaring to the mountaintops. He’s a hell of a crafty fisherman when it comes to hooking the ear. You can hum his songs all day long and not reach the end. For my low tenor voice—untrained and unskilled--his songs are accessible and great fun to sing. A couple of times I’ve been caught humming his back catalog and asked, “That’s a Lightfoot song, isn’t it?”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">(I once sang a pleasing rendition of “Rainy Day People” to an appreciative crowd, but since then have found next to nothing in other karaoke catalogs. Lightfoot is protective of his work, so you never hear it in commercials, either.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">These melodies ride along on Lightfoot’s golden baritone, rich, masculine without overloading on testosterone. He could sing the contents of a sock drawer so it sounds like “Masters of War.” (One fair criticism is that his voice may be a little too good, the burnish painting over the anguish underlying many of his songs.) <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Past those two well-known points, Gordon Lightfoot had another advantage over many of his contemporaries—he went to music school.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Lightfoot started as a <a href="https://www.youtube.com/watch?v=MfJ2TUjREZQ" style="color: #954f72;">choir boy</a>, singing Franz Schubert, among other classical songwriters. In the late 1950s, he spent two semesters at Westlake College of Music in Los Angeles (a famous jazz school, now closed) then returned to his hometown of Orillia, outside Toronto, with a firm understanding of composition, arranging and sight-reading. He got a lot out of his two semesters.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Temperamentally conservative, Lightfoot was no avant-gardist, remaining a fierce craftsman rooted in folk and country traditions, as inspired by <a href="https://www.bobgibsonfolk.com/" style="color: #954f72;">Bob Gibson</a>, and, most especially, Dylan. His songs are rigorously structured but somehow leap the fences of country-folk into the wider savannah of popular music. As he moved along, the music behind his songs grew more complex and sophisticated. (He once aptly called himself a “cosmopolitan hick.”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Recently, I watched <a href="https://www.youtube.com/watch?v=LfyDs6uXww0">YouTube films and videos</a> of his early live concerts (of which there are only a few). I noted how his lead guitarists (Red Shea and, later, Terry Clements), sets the capo far down the neck of the guitar, sprinkling high notes through the songs like raindrops. Meanwhile, from down below, the bass players (John Stockfish; and later, Rick Haynes, still with Lightfoot after fifty years), rumble easily along occasionally leaping up into the song like a trout before diving back down below.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Meanwhile, striding up the middle, pulling it all together, comes Gordon Lightfoot’s wonderful baritone accompanied by his own authoritative picking style, making songs that sound like honeyed sunlight.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">You can hear this in <i>Lightfoot!</i>, his first album (with Bill Lee, Spike Lee’s father, playing bass), and his last for the United Artists label, <i>Back Here on Earth</i>, For the two albums in between, he took a spare approach with <i>The Way I Feel </i>(which Dylan claims as an influence on <i>John Wesley Harding)</i>and <i>Did She Mention My Name? </i>(my least favorite, in part because of an echo effect that works against his voice. The album sounds distant and thin, as though recorded in a large empty gym). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In 1969, he signed with Frank Sinatra’s Reprise label and producer Lenny Waronker. The style grew richer, more luxurious, through three albums until 1972, when he released one of my favorites, <i>Old Dan’s Records.</i><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">At first hearing, <i>Old Dan’s Records </i>sounds like covers of Hank Williams, George Jones, Johnny Cash, Tammy Wynette, plus a nod to Joan Baez. Except they’re all Lightfoot originals and they’re all terrific toe-tappers and hummers.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">On this album, Lightfoot and Waronker layered in more musicians than ever before, weaving an intricate and rich warm bed of guitars and other instruments. It’s like Phil Spector’s “Wall of Sound,” but without the muddy sound.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The album closes with one of Lightfoot’s best road songs, “Hi-way Songs.” His next album struts out of the gate with another swell traveling tune, a folk-rock waltz called “Somewhere USA.” The album is <i>Sundown</i>, a classic of the 1970s that still glows with expressive melodies, musicianship, and a rich sound like a honey-colored dusk. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">While I like <i>Old Dan’s Records </i>more, this one is an absolute high point, reaching number one on the <i>Billboard </i>charts. (Side note: <i>Sundown </i>is the first time I ever heard a pop singer actually sang “shit”—twice, no less. For weeks after, I ran all over campus crying “Gordon Lightfoot said ‘shit!’” but no one cared.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">His subsequent albums became a little more electric and pared down. He never had a number one again but in 1976, he had a real surprise hit with “The Wreck of the Edmund Fitzgerald” a nearly seven-minute story song about the infamous Great Lakes tragedy. Recorded in one take, it feels a bit long, but thanks to Terry Clements’ spearing electric guitar and Pee Wee Charles’s sweeping steel guitar it evokes real terror and bitter tragedy. It may be one of most unusual top-ten hits ever.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">By 1980, Lightfoot’s songs were still good to great and his dedication to music remained undimmed, but, as it does, the marketplace had moved on. Still, he had one more terrific album in him. That would be <i>Shadows</i>(1981) a gorgeous concoction that brings back that “wall of guitars” sound with one good song following on another. I’d pick <a href="https://www.youtube.com/watch?v=gBGH9XIm_5I" style="color: #954f72;">the title tune</a> as my favorite love song of all time, as, apparently, does <a href="https://www.youtube.com/watch?v=05HGkv34l-A" style="color: #954f72;">Bob Dylan</a>).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">With nothing left to prove, Lightfoot has retired from songwriting and—it really hurts to say this—age has dimmed his voice, but he’s still with us, performing for a fan base that seems as intense as ever.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Fifty years on, the snickers have faded while I still say Gordon Lightfoot is a great popular songwriter. He’s as much a part of a tradition starting with Tin Pan Alley, running through Cole Porter and onto the Brill Building and Lennon-McCartney. There may not be a whole lot of deep-dish thinking, but so what? When you’re humming in the shower, or looking for a balm for your sorrowing soul in bad times, what really matters but the music of a song? It may not cure the world’s pain, but it can cast a light against despair.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out! His contemporary Dracula novel <i><a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a></i>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil </i>and<i>Dracula: Endless Night </i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-74442819618274646882018-09-25T11:15:00.000-07:002018-10-12T11:20:50.968-07:00Living Room Bijou: The Black Panther<div style="margin-left: 0in; margin-right: 0in; text-align: center;">
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I don’t care much for comic-book, superhero movies—they’re loud, clangorous, insensible and, despite their color and thunder and all that crazy CG, boring. <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I had more fun when I was a real little kid, sending my American toy soldiers up against my Nazi toy soldiers, mowing the Nasties down by the hundreds of dozens. </span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Those little plastic men had actual weight and substance, unlike those weightless CG figures, who exist so far beyond the lead-shoes of gravity that they’re less than ghosts. Movies are already shadow plays for our collective minds. Too much CG, and you have shadow of a shadow show.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Batman, Spiderman, Superman, whatever the costume, the stakes are pretty low in superhero movies. Have you noticed? Superheroes <i>never die, ever</i>(making them God-like, a question for another day). Unlike, say the best supernatural horror films, there’s no break, or tension, between life and death, or reality and unreality, in a comic book movie. With death banished, unreality seeps into every bone, and, like a totalitarian society, despite all the bright flash and color, the life within flattens out.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Strict ironists say that there’s not <i>supposed</i>to be anything at stake in superhero movies: We’re supposed to chew on them like bubblegum, mindless and easy, good for a laugh. <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">They used to be right. A few of you may have chortled through those old Republic chapter serials of the 1930s-1940s (way before our time). They were cheapies, made for little kids and, at their most entertaining, filled with bad acting, laughable dialogue, goofy villains, breakneck pacing and terrific—and often eye-popping and daring—stunt work. (<i><a href="http://www.imagesjournal.com/issue04/infocus/phantomempire.htm" style="color: #954f72;">The Phantom Empire</a></i>, from 1935 and starring Gene Autry, remains one of the most outlandish things ever embedded in celluloid).<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">These serials sure beat playing Superman in your backyard with a towel around your neck, but not by much. They only showed at the local Rialto once a week, Saturday afternoon, at about 20 minutes per chapter and, by God, that was long enough. A little went, and still goes, a long way. Try binging on them and the charm dies.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But that was then. These days, wits and ironists are not running the show. (Have children changed? I honestly don’t know.) Today’s comic book movies seem constructed to straddle the world between childhood and adulthood. Both realms seem to suffer in the end.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But their volatile population of fans and the films themselves beg to differ—there<i>is</i>something at stake in these movies, something deep and profound, like you might encounter in Shakespeare, Tolstoy and Ingmar Bergman. <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Since at least <i>The Dark Knight</i>—and even before—film after film in this genre has draped its shoulders with the cape of ambition, marching out to thunderous acclaim as “A film for our era”; “a profound examination of society’s destiny” and, most insipidly, “the movie we need now.”<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">(As if Donald Trump and his gang would pack their bags for Moscow once they saw <i>Deadpool</i>, in the same way <i>MASH</i>ended the Vietnam War. You may recall that famous anecdote of Richard Nixon standing up after a screening of the latter film and declaring “By God, I shall end this war!”)<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">There is, I will admit though, some social utility to a movie like <i>Black Panther</i>. At last, black comic book nerds the world over get to see black heroes in a genre that’s always been overwhelmingly white.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But past that, what? What about the rest of us, we who are outside the cult, us non-nerds of color and not—who may well be the majority of movie watchers.<i>Black Panther</i>may not be the worst of its type, nor is it the best. Even the most lefty leftist may only be able to damn it with faint praise. (Yes, I know millions of innocent people love <i>Black Panther</i>. . . but if it—and the others—wasn’t so self-important, I might like it better).<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Black Panther </i>takes us to the mythical African Kingdom of Wakanda, where several tribes are fighting over the miracle metal “Vibranium,” (related to those other miracle metals “Unobtainium” “Whatzattium” and, the most precious mineral of all, “MacGuffium”). Among its powers is its ability to turn the King into the masked superhero Black Panther when mixed together with a rare plant.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This most benevolent dictatorship briefly brings to mind the Himalayan kingdom of Bhutan—hermetic, yet reasonably prosperous. In this film, the country is a gold and emerald secret Utopia disguised as a struggling developing nation. It’s a good look, I guess. (As Marvel Studios already rule this particular Earthly universe, it’s hard to see how anyone is fooled, though).<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">All is not well, of course. After old king T’Chaka dies, T’Challa (Chadwick Boseman, <i>Marshall</i>) accedes to the throne, only to find some unfinished business in his predecessor’s past. While a young man, T’Chaka was a Wakandan government undercover investigator who was forced to kill his brother N’Jobu, who, though next in line for the throne, was a criminal secretly smuggling Vibranium out of Wakanda in collaboration with the nefarious Ulysses Klaue (a growly grungy Andy Serkis). <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">To thicken the soup, N’Jobu left behind a young son, N’Dajaka who grows up to be the vengeful “Killmonger” (Michael B. Jordan, <i>Fruitvale Station</i>). N’Dajaka returns to Wakanda to claim the Wakandan throne, saying he only wants to open up the kingdom to the world and share the miracle of Vibranium; but, really, he’s just another bloody-minded authoritarian gangster, the likes of which we seem unable to rid ourselves.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Of course, Killmonger kills T’Challa and takes over Wakanda. And, of course, T’Challa is resurrected to save the day, along with family, friends, a CG rhinoceros and finally, a white American CIA agent (Martin Freeman, <i>Sherlock!</i>).<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">(Did I spoil it all for you? Think before you answer!)<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">I can’t completely badmouth this movie. Wakanda looks great, bathed in sunlit gold and deep jungle green. If you didn’t know any better, you’d web-search “Wakanda tourism”. The music by Ludwig Göransson is excellent, incorporating African themes from Senegal, giving it more atmosphere and power than these scores usually do.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As for the actors, villains Michael B. Jordan and Andy Serkis are the most memorable. At first Jordan seems to be a little too nice and callow to play Killmonger. He eventually grows into the part to where I felt that surge of gleeful hatred I always feel toward good heavies. Serkis adds grit with a crusty villain out of Scorsese and Peckinpah. <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">But, like those Republic serials of old, a little of this goes a long way. To this action-movie fan, the only scene with real excitement is an analog shootout in a South Korean junkyard. Otherwise, it’s the usual CG cartoon fights, with occasional flashes of actual stunt people. <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">It’s all so serious, there’s no sense of play. It failed to persuade me to suspend my disbelief, to accept its absurdities. It sinks into that frantic dullness that infects many of these films. The longer it went on, the deeper my sighs grew. After it was over, I wanted to wash it down with a chapter of <i>The Phantom Empire.</i></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil</i>and <i>Dracula: Endless Night</i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-55090060767887907622018-08-19T10:16:00.001-07:002018-08-19T10:16:49.942-07:00The Living Room Bijou: The Cloverfield Paradox<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><i>The Cloverfield Paradox </i>(2018) is the third entry for J.J. Abrams’ <i>Cloverfield</i>franchise (the first of which, out of the found-footage horror genre, I enjoyed; I missed the second). It’s an okay sci-fi/horror piece, that, while purporting to be based on real science, is too fanciful and goofy to take with anything more than a grain of meteor dust.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Once again, we’re in Earth’s dystopian future (now de regueur in the genre; Lord help us, if hope and optimism ever become fashionable again). Human civilization has maxxed out its energy supplies (somehow, even wind, solar and water are not workable either . . . okay, we’re still here). Doom’s a-knockin’ at our door.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Meanwhile, circling about the planet, is the good spaceship <i>Cloverfield Station</i>. Humanned by an international crew, it’s attempting to boot up the Shepherd particle accelerator to somehow provide Earth with an eternal supply of energy.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Of course, this is a fiction and that means this is not a good idea. (Otherwise, we’d more likely have a documentary, or an earlier episode of <i>Star Trek</i>). Once the plot engine launches into hyper-drive, the film is invaded by a typical cosmic motley of <i>Alien,</i><i>Space, </i>and other, supposedly more science-based, movies. <i><a href="https://en.wikipedia.org/wiki/Ex_Machina_(film)">Ex Machina</a> </i>it is not.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Things go to hell in a hyper-space pod, as Things and Stuff from Another Universe crash and pop into this one, turning existence upside down, backward, and inside out, like a flashy but poorly knit sock, wooly with loose threads. Trapped in a mirror image Universe, the crew must find a way back to this one. There’s also the usual background character B.S. meant to encourage swelling hearts and damp hankies . . . .<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">While the rest of us shake our heads, we can enjoy the elaborate gleaming production and performances by an able cast, including Gugu Mbatha-Raw (<i>Black Mirror)</i>, Daniel Brühl (<i>The Alienist</i>), David Oyelowo (<i>Selma</i>), John Ortiz (<i><a href="https://tbdeluxe.blogspot.com/2012/02/good-artist-and-good-luck.html">Luck</a></i>), and, most entertainingly, Chris O’Dowd (Epix’s <i>Get Shorty)</i>. O’Dowd gets most of the laughs as he gets separated from his arm, which later returns with its own agenda. Several cast members meet their ends in suitably grotesque fashion.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Not surprisingly, shit goes really helter-skelter at the end, as the movie undercuts its mediocre drama with a joke ending out of an old Robert Bloch/<i>Twilight Zone</i>story. <o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">And, this being a <i>Cloverfield </i>movie, you’ll be waiting for it before the opening credits even role.<o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now available! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" style="color: #954f72;" target="_blank">Dragon's Ark</a> won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers, The Uglies, Now Speaks the Devil and Dracula: Endless Night </i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-47537720632243980082018-04-25T13:44:00.000-07:002018-04-25T13:44:06.358-07:00Birth of the Hard-Boiled<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>If you were a noir fan who found <i>The Big Book of the Continental Op </i>by Dashiell Hammett (Vintage Crime/Black Lizard) under your 2017 holiday tree, consider yourself blessed. If not, you owe it to yourself to buy it now, because this collection, lovingly assembled and edited by Julie Rivett (Hammett’s granddaughter) and Richard Layman (the leading Hammett scholar) is a treat from cover to cover as it opens a window onto a world and style of detective fiction now mostly gone.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>All the Op stories first appeared in the legendary pulp magazine <i>The Black Mask,</i>starting with “Arson Plus” in the October 1923 issue and ending with “Death and Company” in November 1930, the year of <i>The Maltese Falcon</i>.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Now, for the first time, all twenty-eight tales featuring Hammett’s pioneering creation have been joined in one volume. The bulk of them were collected in three earlier editions, one of them edited by Hammett’s companion, playwright <a href="https://en.wikipedia.org/wiki/Lillian_Hellman">Lillian Hellman</a>. Others remained scattered in far-flung corners, in addition to a couple of uncompleted stories and early versions of Hammett’s first two novels that have not seen print since their first magazine publication in the late 1920s. They too, have been all wrapped up in one bulky but worthwhile package. At 700 double-column pages, it’s one hot brick of a book.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Before the Op, there was no one in detective fiction quite like him. Literary detectives were creatures of the upper class or from officialdom and were mostly of British origin. The Op, a descendant of dime-novel frontier sheriffs and gunfighters, was American to his cold marrow. By the 1920s, the American frontier was long gone, and World War I had brought a bloody end to old ways. Rural populations were on the cusp of becoming a minority as giant cities sprung up from coast to coast. Prohibition kicked in, in part, as a reaction against these changes. These dry laws, however, ignited a fantastic era of corruption and lawlessness. Genre fiction readers needed a new hero for this violent and tempestuous time.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Op was among the first and by far the best of the new breed. He rose from the ranks of the unwashed to take a place in a relatively new American institution—the corporation as fronted by the Continental Detective Agency. Like the <a href="https://www.pinkerton.com/#slice1">Pinkertons,</a> Hammett’s former employers on whom it’s based, the agency represents the wealthy and the powerful, extracting them from their own unique troubles.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Op is smart, but no genius like Sherlock Holmes, smoking his pipe, shooting cocaine while slumped in his armchair. He does his thinking on his feet, in the moment. He’s a dogged fellow who takes a stoutly cynical anti-romantic stance toward the world and his work. Homely as an old suitcase, he’s like a mechanic, fearlessly getting his hands dirty—the kind who’ll steal the crutches off a crippled newsboy to get the job done. Hammett seems to have built him from brick, concrete and steel, adding only enough human qualities to help him function as a detective, an oblique symbol of his times and, finally, as the gnarly root of every tough-guy hero since then.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Because professional detectives prefer to remain safe in anonymity, we never learn the Op’s real name in these first-person fables. He seems to have no private life save for sleeping, eating, smoking and the occasional poker game. He falls in love once—or, more precisely, becomes obsessed—but it passes like a bad flu. He’s as single-minded as a hunting dog.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Today’s high-strung readers will feel tweaked by his callous pragmatism and disdain for most human feelings. (His closest modern equal can be found in the <a href="http://www.donaldwestlake.com/parker/">Donald Westlake/Richard Stark</a> novels, following the terrifying hard-boiled adventures of a cold-eyed professional thief.) He’s in it for the work and the money it brings the company. His social attitudes occasionally slip into racism and his black humor still shocks. (“I haven’t laughed so hard since the hogs ate my kid brother!” he cackles near the end of <i>Red Harvest, </i>the first Hammett masterpiece novel.)<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>While Hammett’s leftist politics are the stuff of legend, he wrote the Op stories while he was still in his twenties, his attitudes still unformed. The Op is a creature of the establishment, freely cooperating (as real detectives do) with the police—who are often portrayed as being as able as he is, though sometimes also corrupt.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Whatever the political undercurrents, these are first and foremost true noir pulp tales: raw, energetic, ungainly. These stories dazzle and delight, burst with invention and energy, gleam with nuggets of color and fun. Many of them are novellas, long, elaborate action-packed tales, full of shoot-outs, stabbings and even homicide by typewriter. Even when they careen toward the implausible, they compel attention with vivid prose, breakneck pacing and Hammett’s fierce eye for surface detail and the local color of 1920s San Francisco. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The collection divides the Op stories into three sections, mirroring the three <i>Black Mask </i>editors for whom Hammett wrote: George W. Sutton, Philip C. Cody and Joseph Shaw. Each editor made his own demands of the magazine’s star author. Hammett, an invalid recovering from tuberculosis, poor and with a family to support, chafed under their demands, but he was in no position to rebel.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Nevertheless, he made the most of the fences surrounding him. His background as a Pinkerton detective provided enormous amounts of exact detail, painting a realistic patina over his fantastic plots. Hammett is sometimes called a “realistic” writer, which I think is a profound mistake: His stories and plots are too incredible, as baroque and strung with wild coincidence as any 19<sup>th</sup>-century melodrama. <o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Take “The Gutting of Couffignal”: It opens with the Op reading M.P. Shiels’ fantasy <i>The Lord of the Sea</i>while standing midnight guard duty over a pile of expensive wedding gifts<i>.</i>After summing up the plot, he admits, “it sounds dizzy here, but in the book it was as real as a dime.” It’s clearly a tip off that we should take Hammett’s work here in a similar vein as we’re spun off into an equally dizzy romp about a Russian criminal gang overrunning an entire island. And it reads as real as a dime.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Op stories are really works of fantasy and deserve to be seen as such. (Sergio Leone’s movies, indirectly inspired by Hammett’s work, play a similar game, laying gritty details over equally dubious scenarios.) This is not criticism but praise. The Op stories work a pulpy magic, seducing readers into a baroque world of skullduggery and revenge, where the unreal becomes real.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Hammett was a self-educated writer, broadly read and it shows. His style, especially in his early stories, is awkward, sometimes heavy with slang (all of which is defined in footnotes). Nevertheless, he writes with such energy, flamboyance and humor, with such a deft eye for detail, objections dissolve like mist.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Not every story hits its target. The early ones show a young writer finding his feet before hitting his stride in the middle years under Cody and Shaw. From this period came most of the best Op stories, including four which, when read together, constitute two separate novellas: “The House on Turk Street” and “The Girl with the Silver Eyes”; and “The Big Knockover” and “$106,000 Blood Money.”<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b> “This King Business,” a late novella, sweeps the Op away to the fictional Middle European nation of Muravia for a wild satire of out of both John Buchan and Kipling’s “The Man Who Would Be King.” It crackles with arch and witty commentary on politics but drags toward the end.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>As an encore, the volume includes Hammett’s first two novels, <i>Red Harvest</i>and <i>The Dain Curse</i>, as they first appeared in <i>The Black Mask</i>before their hardcover publication by Alfred Knopf, where they underwent significant red-penciling. <i>The Dain Curse </i>seems to be an even bigger jumble than it was in its final version. The Black Mask <i>Red Harvest </i>is also significantly different, yet in some ways better, as it clips along to a more cogent ending. For Hammett fans, they are fascinating documents.<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Then came Sam Spade in <i>The Maltese Falcon</i>in 1930. Hammett left the Continental Op behind, the string played out. Both his style and themes would crystallize in the great works to come. Nonetheless, some readers may feel a sad twinge when <i>The Big Book of the Continental Op</i>reaches the end. I know I did.<o:p></o:p></b></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Thomas Burchfield’s <i>Butchertown,</i>a ripping, 1920s gangster shoot-‘em-up novel is now out. His contemporary Dracula novel <i>Dragon's Ark</i>won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s also author of the original screenplays <i>Whackers</i>, <i>The Uglies</i>, <i>Now Speaks the Devil</i>and <i>Dracula: Endless Night</i>(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" style="color: #954f72;" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield" style="color: #954f72;">Amazon</a>,<a href="http://www.barnesandnoble.com/c/thomas-burchfield" style="color: #954f72;" target="_blank">Barnes and Noble, </a><a href="http://powells.com/" style="color: #954f72;" target="_blank">Powell's Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/" style="color: #954f72;">Bright Lights Film Journal</a>and The Strand and he recently published a two-part look at the life and career of the great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He lives in Northern California with his wife, Elizabeth.<o:p></o:p></span></b></div>
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-73298437074557251332018-02-16T13:37:00.000-08:002018-03-23T15:29:48.111-07:00Sea Captains, Good and Bad<div class="separator" style="clear: both; text-align: center;">
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<b style="font-family: Arial, Helvetica, sans-serif; text-align: center;"><span style="font-size: large;">War has always been with us, but just over a hundred years ago, the most savage
and epic era of human conflict began. Human beings, especially males, have
always been distinctly ornery. But with the 20<sup>th</sup> Century we “improved”
our technology. Alongside that human populations soared, while competition for
limited space and resources grew fierce. </span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>So now we’ve had a century’s worth of tragedy, terror and trouble to
show for our cleverness and fecundity. Though war may seem in comparative
abeyance now, we still live by the skin of our teeth.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>World War I, the first of the great conflicts, was called “the war to end
all wars” after it was formally concluded in 1919. That was a fine hope, but, of
course, it turned out to be bullshit. It was only the first chapter of a longer
war, from which have grown enormous libraries of books and commentary. Why the “Great”
War even started remains a ghastly mystery full of worthy educated theories
embracing a multitude of factors, but few clear conclusions.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Especially for those who are pacifists, there’s little honor to be found in
any of this. Even so, amidst all the misery, you occasionally find glimmers of the
old-style myths of heroism and decency. The stories that came forth do not erase
the horror, but they provide a little solace, a little hope that even our
enemies can be angels.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Some of these events took place on the battlefields of Europe and Western
Asia. But mostly, they seem to have taken place on the high seas. <o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The naval literature of World War I is not vast compared to other theatres.
But for the attacks by U-boats on Allied shipping and their response, only one
major battle took place, between the British Royal Navy and the German Imperial
Fleet at Jutland, which, to the amazement of many, ended in a draw. (The fate of
the Imperial German Fleet at war’s end makes for <a href="https://en.wikipedia.org/wiki/Scuttling_of_the_German_fleet_in_Scapa_Flow">another
stunning tale</a>.)<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Though they took place on a much smaller scale, the exploits of the German
merchant raiders pack just as much drama. These ships, some of them drastically
refitted commercial freighter and passenger vessels, roamed the sea from the
Atlantic to the Pacific. They had no practical effect on the war’s outcome, but
nevertheless they aroused great terror as they captured and sank hundreds of vessels,
while providing at least some inspiration for a people who had little else to inspire
them.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The best account of these actions I’ve read is <i style="mso-bidi-font-style: normal;"><a href="https://www.amazon.com/Wolf-Mystery-Raider-Terrorized-During/dp/1416576118/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1518814064&sr=1-1-fkmr0&keywords=the+wolf+Guilliat+Hohnen">The
Wolf<span style="font-style: normal;"> by Richard Guilliat and Peter Hohen (Free
Press, 2010)</span></a></i>. </b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The <i style="mso-bidi-font-style: normal;">S.S.
Wolf</i>, armed with a several cannons (and a seaplane!), set sail from Kiel,
Germany, on November 1916 on a 16,000-mile, 16-month voyage. </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i style="mso-bidi-font-style: normal;"><br /></i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>I</i>ts mission was to lay mines in dozens of Allied
ports, mostly British, from the Atlantic through the Indian Ocean to the
Pacific. These mines sank thirteen ships, while<i>The Wolf</i> herself directly captured
and sank fourteen others. It snuck back through the British blockade in
February 1918, with almost 250 prisoners in her holds. All this without losing
a single life on both sides.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>As in all stories of this genre, the crucial element in <i style="mso-bidi-font-style: normal;">The Wolf’s</i> success is its captain, Karl Nerger. He was a genuine
oddity, a sailor from a long-lost world, where war was seen as a noble pursuit
for upper-class gentleman. With his courtly well-bred manner, Nerger both
inspired his men and acted as a most gracious captor to his prisoners during
the long, hard months at sea. He swore he wouldn’t take a life during his
mission and stuck to his promise. Even the women prisoners, of which there were
at least two, made it through safe and unharmed.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Even so, Guilliatt and Hohnen’s swift and irresistible account makes no
attempt to soften this harrowing story. <i style="mso-bidi-font-style: normal;">The
Wolf</i> was a slow boat, a coaler that couldn’t get past 10 knots at best. As
the endless days at sea passed under harsh sun, miserable heat and violent
storms, and the number of prisoners in the hold increased, conditions naturally
deteriorated. There were a few gestures at mutiny by the crew, while conditions
grew foul in the prisoner holds below decks.<o:p></o:p></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The prisoners were a diverse lot, ranging from the Cameron family, San
Franciscans who were plucked from their luckless schooner <i style="mso-bidi-font-style: normal;">The Beluga</i>. There were also British, Australians, New Zealanders
(including Maori), South Pacific Asians and finally, a crew of Japanese
sailors. Cultural and racial tensions ran bitter and high, yet they all made it
out alive to tell their incredible tale, one worth reading for fans of
true-life adventure. It’s a great story to read, though you wouldn’t want to
experience it.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhelDUpPq9c7zaVMAS_531QWfWro4LG8go6gFTmJxjQotOU9yg2jqU4cd_bxuUpoYeGbKMISJkqo2gtX4AYXiUbbv8m8F32VoBkUk40yKwg_JYzCkkKxhyphenhyphenXg7U69_189-ZAVB-kyxQs35g/s1600/seaaglebook.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="349" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhelDUpPq9c7zaVMAS_531QWfWro4LG8go6gFTmJxjQotOU9yg2jqU4cd_bxuUpoYeGbKMISJkqo2gtX4AYXiUbbv8m8F32VoBkUk40yKwg_JYzCkkKxhyphenhyphenXg7U69_189-ZAVB-kyxQs35g/s320/seaaglebook.jpg" width="223" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Blaine Pardoe’s <i style="mso-bidi-font-style: normal;"><a href="https://www.amazon.com/Cruise-Sea-Eagle-Imperial-Gentleman/dp/1592286941/ref=sr_1_1?s=books&ie=UTF8&qid=1518814125&sr=1-1&keywords=Cruise+sea+eagle">The
Cruise of the Sea Eagle</a></i> (The Lyons Press, 2005) is not as successful as
a book (mostly due to slack editing toward the end). Even so, its story is
even more colorful, incredible and thrilling. Where the <i style="mso-bidi-font-style: normal;">SMS Wolf </i>was a modern, if slow, single-masted coal-powered ship, <i style="mso-bidi-font-style: normal;">The Seeadler</i> was a three-masted sailing
ship, right out of the nineteenth century and Errol Flynn by way of Raphael
Sabatini—the last thing you’d consider sending out against mighty British Navy
dreadnoughts.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>But, considered further, <i style="mso-bidi-font-style: normal;">Seeadler’s </i>very
antique innocuousness turned out to be its strength, like the tiny mouse that
makes off with the cheese while the cats hunt the big rats. To the modern British
battleships, it was just the <i style="mso-bidi-font-style: normal;">Hero</i>, a
cute antique freighter under a Norwegian flag. Why, there was even a woman on
board, the captain’s wife!<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>But, of course, hidden away, lay the flag of the German Imperial Navy, not
to mention a pair of cannons. As for the captain’s spouse, “Josefeena” was played
well-enough by crewman Hugo Schmidt, in drag ("Well, hello sailor!"). Another wild trick was played in the
captain’s dining room, built on hydraulics that it could be lowered down to
entrap unsuspecting captains who though they were just sitting down to dinner
with a fellow captain, not a German buccaneer.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The <i style="mso-bidi-font-style: normal;">Seeadler</i> targeted similar British
freighter schooners and windjammers, still in wide use in the early 20<sup>th</sup>
century, so it never bit off more than it could chew. With these modest goals, the
Germans captured and sank twelve freighters in the Atlantic before rounding
Cape Horn into the South Pacific. It sank three more ships before running
aground on the Pacific island of Mopelia eighteen months later.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>As with <i style="mso-bidi-font-style: normal;">The Wolf</i>, the man at the
helm was key to the <i style="mso-bidi-font-style: normal;">Seeadler’s</i>
success. <a href="http://luckner-gesellschaft.de/en/">Captain Felix von Luckner</a>
cut an even more dashing figure than Karl Nerger. Of noble birth and wide
experience, he was a true “gentleman pirate,” handsome, charismatic, sociable.
(In a different world, Christopher Lee would make a perfect von Luckner in the
movie version.) <o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Von Luckner wasn’t the brains of the outfit (which honor belongs to his
lieutenant, Alfred Kling), but he was the glue that held the crew together. Like
the best commanders, he thought fast on his feet, and brought purpose and direction
to the long, hard voyage. <o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Like Karl Nerger, he swore an oath not to kill a soul during his raids, but,
tragically, failed to keep his promise. When one of the raider’s targets, <i style="mso-bidi-font-style: normal;">The Horngarth, </i>elected to fight back,
von Luckner gave orders to return fire. Richard Douglas Page, a young British
radio operator, died. Though Von Luckner undoubtedly regretted the loss, he
also elected to brush it out of his own romanticized accounts of his life.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Even without an airbrush, von Luckner led an incredible life from first to
last. Though a loyal German, he openly despised the Nazis who kept him under
house arrest for most of World War II. At war’s end, he managed to single-handedly
stave off the destruction of his hometown of Halle by American troops and
rescued a Jewish refugee while trying to manage his own escape as Germany
collapsed around him.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBpL3ZZey_71MMtk0T6l51P8gYPwY8qL7ddGT75RT1KLfLcbTvqm4mLIEm2O4zeQo4jBY8fWLGba6lSwJim1xexkghL0eis7IVGoEjSl5cAzeTWMntby9b7eucuaBM9n0VBQ84g9UdRA/s1600/sanpedrobook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="420" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBpL3ZZey_71MMtk0T6l51P8gYPwY8qL7ddGT75RT1KLfLcbTvqm4mLIEm2O4zeQo4jBY8fWLGba6lSwJim1xexkghL0eis7IVGoEjSl5cAzeTWMntby9b7eucuaBM9n0VBQ84g9UdRA/s320/sanpedrobook.jpg" width="209" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>There are competent sea captains and there are incompetent ones. What
happens when a ship is helmed by an incompetent is the drama behind <i style="mso-bidi-font-style: normal;"><a href="https://www.amazon.com/S-S-San-Pedro-Castaway-paperbacks/dp/B0008703KW/ref=sr_1_1?s=books&ie=UTF8&qid=1518814300&sr=1-1&keywords=S.S.+San+Pedro+Cozzens">S.S.
San Pedro <span style="font-style: normal;">by James Gould Cozzens (Berkeley
Books)</span></a></i>,<i style="mso-bidi-font-style: normal;"> </i>a trim, but
vivid seafaring novel from 1931. Cozzens was a noted 20<sup>th</sup>-century
author known mostly for <i style="mso-bidi-font-style: normal;">By Love Possessed</i>
(which was adapted into a Lana Turner movie.) <o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Now mostly forgotten, some of his work seems allegorical. (<i style="mso-bidi-font-style: normal;">Castaway</i>, his 1934 novel about a man
trapped forever inside a Macy’s-type department store, was once eyed for
adaptation by director Sam Peckinpah.)<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>While inspired by Joseph Conrad, the novel belongs in the <i style="mso-bidi-font-style: normal;">Ship-of-Fools</i> genre, but years before Katherine
Anne Porter’s epic. The titular ship is a large passenger freighter, bound from
Hoboken, New Jersey, to Argentina. Passengers and crew are a motley cross-section
of humanity with class and racial divisions drawn hard, bright and cruel. Not
long after leaving port, the <i style="mso-bidi-font-style: normal;">San Pedro</i>
encounters a violent storm, and thanks to sloppy cargo-loading and a sick and listless
captain, founders toward a briny doom.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Despite strong writing, <i style="mso-bidi-font-style: normal;">S.S. San Pedro</i>
seems a curious antique now. The narrative strongly suggests Cozzens to be a bigot.
It’s a pessimistic reactionary work that reads like an allegory of doom. For
all the ships that do safely reach port, there are many that don’t. To James
Gould Cozzens, we are all passengers and crew on the <i style="mso-bidi-font-style: normal;">S.S. San Pedro</i>. As one old sea saying goes, keep one hand for the
ship and the other for yourself.<o:p></o:p></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Thomas Burchfield’s <i style="mso-bidi-font-style: normal;"><a href="https://www.amazon.com/Dragons-Ark-Thomas-Burchfield/dp/0615385478/ref=sr_1_4?s=books&ie=UTF8&qid=1518813831&sr=1-4">Butchertown</a>,</i>
a ripping, 1920s gangster shoot-‘em-up<span style="mso-spacerun: yes;">
</span>novel is available now! His contemporary Dracula novel <i style="mso-bidi-font-style: normal;"><a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a></i>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays Whackers, The Uglies, Now Speaks the
Devil and Dracula: Endless Night (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler House Publishing</a>,
all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/">Bright Lights Film Journal</a> and The
Strand and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in Filmfax. He
lives in Northern California with his wife, Elizabeth.</b></span><o:p></o:p>Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com2tag:blogger.com,1999:blog-543569223349021253.post-42726429854800190912018-01-24T15:43:00.000-08:002018-01-24T17:37:30.442-08:00Noir City 2018<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_WvxHG7oIw6FhBImKnHEXs25xFmGdsiDjFNW5ypS1yqwxbFdaJ5yax-oAxHGidKbnPBHuK_OYjy6kC-gJ3xXyiwpbClOJSHv1A7lPTRkJhaRnnuxp1D5VDOL2liPohglV_MAYgdIDU8/s1600/Castro43750.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="576" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_WvxHG7oIw6FhBImKnHEXs25xFmGdsiDjFNW5ypS1yqwxbFdaJ5yax-oAxHGidKbnPBHuK_OYjy6kC-gJ3xXyiwpbClOJSHv1A7lPTRkJhaRnnuxp1D5VDOL2liPohglV_MAYgdIDU8/s640/Castro43750.jpg" width="640" /></a></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>This flu noir has kept me in the shadows so far this year,
but there’s enough strength—not to mention gumption—left to urge you all to
attend the <a href="http://www.noircity.com/nc16p1.html">2018 Noir City Festival</a>
at San Francisco’s magnificent Castro Theatre. As always, it’s produced by the <a href="http://www.filmnoirfoundation.org/home.html">Film Noir Foundation</a>
(Eddie Muller, founder and president), and includes bar service in the upstairs
lobby by <a href="http://www.stookeysclubmoderne.com/">Stookey’s Club Moderne</a>.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>As before, time and distance will also keep me from attending
the entire event. But it won’t keep me from pointing you to some films I know are
worth seeing and pointing you to others that might be worth our while (if I can
get out of bed).<o:p></o:p></b></span></span></div>
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<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>I haven’t seen <i style="mso-bidi-font-style: normal;">This
Gun for Hire</i> (Saturday afternoon, January 27) for years, but my memory of
it is a good one. Adapted (and softened up and Americanized) from Graham Greene’s
novel by Albert Maltz and crime fiction pioneer W.R. Burnett (<i style="mso-bidi-font-style: normal;">Little Caesar)</i>, it tells the story of hitman
Philip Raven and how he winds up a target due to sinister double-crossing by,
among others, the amazing <a href="https://en.wikipedia.org/wiki/Laird_Cregar">Laird
Cregar</a>, an actor gone much too soon. It also features Veronica Lake as the
love interest, which will be of interest to gentlemen who prefer blondes and
dig the peekaboo hairstyle.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>A genuine classic—one of two this year--is on tap for
that same Saturday evening with <i style="mso-bidi-font-style: normal;">Shadow of
a Doubt</i>, one in the long long line of Alfred Hitchcock’s masterpieces. (Can
any of you point to a single specific Hitchcock film as “his best?” Not me.) That
Hitchcock considered this a personal favorite should be enough. I’ll add, in
addition to mesmerizing work by Joseph Cotten as “Uncle Charley” (maybe his
best role) and winsome Teresa Wright as his adoring niece (also named Charlie)
there’s a bright seam of wit and humor revealed by the supporting cast
featuring Hume Cronyn, Henry Travers, and an actress named Edna May Wonacott as
Wright’s uproariously pedantic little sister. If you haven’t seen this . . . I
mean really….<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The following Monday January 29, features <i style="mso-bidi-font-style: normal;">Conflict</i> which I recall as a solid
entertaining thriller with Bogart wearing the black hat as a wife murderer.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The following night, Tuesday, January 30) features <i style="mso-bidi-font-style: normal;">The Blue Dahlia</i>, the only feature penned
first to last by Raymond Chandler. Once again, Alan Ladd and Veronica Ladd are
teamed, accompanied by an excellent William Bendix and Howard daSilva.
Censorship pressures at the time led to a fudged ending, but it’s still a good
noir.<o:p></o:p></b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i style="mso-bidi-font-style: normal;"><span style="color: #222222;">I Walk Alone</span></i><span style="color: #222222;"> (1948) will be shown Thursday night, February 1. Though
declared a “lost” film, I recall it being broadcast on network television sometime
during the 1970s and I caught up with during the 1990s, so how lost it was I
can’t say. Lost or not, I recall it to be a pretty good noir thriller, with
shades of <i style="mso-bidi-font-style: normal;">Out of the Past</i>. Burt
Lancaster as an ex-con and Kirk Douglas, as his cheating ex-partner, face off
over loot and Lizabeth Scott, as a torch singer. Lancaster vs Douglas? That’s
two kegs of dynamite slammed together.<o:p></o:p></span></b></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>From there, there’s a big gap of unknowns until closing
night with the other forty-carat classic, <i style="mso-bidi-font-style: normal;">The
Big Heat</i>. Now, I am of the firm opinion that none of director Fritz Lang’s
Hollywood films really hold a candle to his monumental German classics. But <i style="mso-bidi-font-style: normal;">The Big Heat </i>does stand among the finest
of his later years. <span style="mso-spacerun: yes;"> </span>Everything with
Gloria Grahame and Lee Marvin is terrific. You may squirm a little at the
domestic moments, but once those are blasted out of the way, the film turns
cruel and relentless, as does Glenn Ford, a fine actor in an excellent role. It
may well be the cruelest and most savage of all noirs.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Among those I haven’t seen, but wish and hope I can is <i style="mso-bidi-font-style: normal;">Among the Living</i>, with its shades of <i style="mso-bidi-font-style: normal;">Jane Eyre</i>; <i style="mso-bidi-font-style: normal;">Flesh and Fantasy </i>and <i style="mso-bidi-font-style: normal;">Destiny</i>
two films that were once portmanteaud together before being split in two; both are
said to contain shades of the supernatural, always a draw for me.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>And any movie where Charles McGraw gets to play a lead, which
seldom happened, is a must for his fans, as will happen with <i style="mso-bidi-font-style: normal;">The Threat</i>, where he plays an escaped
con out for revenge. No doubt his enemies will be very sorry by the time he’s
done with ‘em—if they live long enough. <o:p></o:p></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFKi56nmgKt1KuuTEkisqUNc9UzZt4Y5-IZDxC7Kh659YJsALccjWXZ2vIQF5LuMXv2WR1rAulE9W7-9PhYm9VROygiEumgmwn4wfApgYJqtLQegGfH22IIza5eKxuTWUsvpbmN6hDpGw/s1600/tierney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="599" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFKi56nmgKt1KuuTEkisqUNc9UzZt4Y5-IZDxC7Kh659YJsALccjWXZ2vIQF5LuMXv2WR1rAulE9W7-9PhYm9VROygiEumgmwn4wfApgYJqtLQegGfH22IIza5eKxuTWUsvpbmN6hDpGw/s320/tierney.jpg" width="320" /></a></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>The Who Pulled a Knife on Jerry Seinfeld</i></b></span></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>And, finally, there are three reasons to see <i style="mso-bidi-font-style: normal;">Bodyguard</i>: one: it’s a very early screen
story co-credited to Robert Altman; two, it’s directed by a most excellent
craftsman, Richard Fleischer. And three: will the notorious, most unnerving <a href="https://en.wikipedia.org/wiki/Lawrence_Tierney">Lawrence Tierney</a>
finally lose it and destroy everything in sight? I can see the klieg
lights coming loose as the crew flees in screaming terror.<o:p></o:p></b></span></span></div>
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<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Have a great time! Maybe I’ll see some of you at Stookey’s
upstairs!<o:p></o:p></b></span></span><br />
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span></span>
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>[This one is dedicated to the late Carrie Galbraith, a friend when needed long ago.]</b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Copyright 2017 by Thomas Burchfield<o:p></o:p></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Photo by author<o:p></o:p></b></span></div>
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Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Thomas Burchfield’s Butchertown, a ripping, 1920s gangster shoot-‘em-up<span style="mso-spacerun: yes;"> </span>novel is now out! His contemporary Dracula
novel<i style="mso-bidi-font-style: normal;"> <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a></i>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i style="mso-bidi-font-style: normal;">Whackers,
The Uglies, Now Speaks the Devil </i>and<i style="mso-bidi-font-style: normal;">
Dracula: Endless Night</i> (e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler House Publishing</a>,
all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <a href="http://brightlightsfilm.com/">Bright Lights Film Journal</a> and <i style="mso-bidi-font-style: normal;">The Strand</i> and he recently published a
two-part look at the life and career of the great film villain (and spaghetti
western star) Lee Van Cleef in Filmfax. He lives in Northern California with
his wife, Elizabeth.</b></span><o:p></o:p>Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-27446106380168094212017-12-16T12:08:00.000-08:002018-09-12T14:12:19.587-07:00MACGUFFIN GODZILLA, AND A COUPLE OTHER THINGS<div style="background: white; border-bottom: dotted windowtext 3.0pt; border: none; mso-element: para-border-div; padding: 0in 0in 1.0pt 0in;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqVtkWLv6IlZb3kDiantiR2jUZLE1rE1e2Nqdm6ygkFhu0UqZFsfO7RS1KptRaRPKMlHeqEMRqMhyrEGSAczYYnVrn3RxnBg5Ed0zhbv6a4UGR5qsUc4qNfoq1jzQ7cprqd4WPCz12qws/s1600/Barney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" data-original-height="576" data-original-width="768" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqVtkWLv6IlZb3kDiantiR2jUZLE1rE1e2Nqdm6ygkFhu0UqZFsfO7RS1KptRaRPKMlHeqEMRqMhyrEGSAczYYnVrn3RxnBg5Ed0zhbv6a4UGR5qsUc4qNfoq1jzQ7cprqd4WPCz12qws/s400/Barney.jpg" width="400" /></span></a></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
<div style="background-color: white; background-position: initial initial; background-repeat: initial initial; border: none; margin: 0in 0in 0.0001pt; padding: 0in; text-align: center;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="color: #222222;">Rising from the depths to wreak havoc </i><span style="color: #222222;"><i>and</i></span><i style="color: #222222;"> terror it's . . . oops! Never mind!</i></span></b></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<b style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Apparently, Toho Studios, the original creators of
Godzilla, weren’t entirely happy with Gareth Edwards’ Americanized rendition of
the venerable fable from 2014. I wasn’t entirely happy with it myself—matching
up twin monsters against the Big Guy defused the thrills, and also thinned the
underlying message of Godzilla as the price humanity pays for its environmental destruction. It flirted with making him into the friendly toy puppet he played
for the bulk of his cinematic life. (That view may have inspired <i>Barney and Friends</i>, a crime that should
forever soil modern pop culture--I’ll bet a month’s pay on that.)</span></b></div>
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<br /></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">So hardly two years later, Toho returns with a new remake,
titled <i style="mso-bidi-font-style: normal;"><a href="https://en.wikipedia.org/wiki/Shin_Godzilla">Shin Godzilla</a></i>, (<i style="mso-bidi-font-style: normal;">Godzilla: Resurgence</i>) that boots the
extra monsters and tries to strip the myth back to its atavistic soul. I truly
wish I could say I liked this one as well as the 1954 original, still much the
best (both with and without Raymond Burr). Unfortunately, <i style="mso-bidi-font-style: normal;">Shin Godzilla</i> comes with problems of its own.<o:p></o:p></span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<img alt="Image result for Shin Godzilla" class="irc_mi" height="443" src="https://vignette.wikia.nocookie.net/joke-battles/images/7/7c/Shin-0.jpg/revision/latest?cb=20170909220400" style="margin-top: 38px;" width="640" /><b style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span></b></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"><b><i>There, that's more like it . . . that tail's a bit much, though.</i></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This Godzilla (or “Gojira” as <i style="mso-bidi-font-style: normal;">real</i> fans call him) saw a limited U.S. release this year and is now
available on video. It wastes little time, in keeping with our impatient era,
as he rumbles and lumbers ashore in the first five minutes to wreak havoc on
Japan. Interestingly, he’s virtually legless at first, a scaly slug dragging
and flopping upriver, like a turtle without its shell. Someone also goofed his
makeup, because they’ve stuck what amounts to two plastic-looking goofy doll
eyes, in his head, like they grabbed him off the shelf at Toys”R”Us. It’s not a
good look.<o:p></o:p></span></b></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="color: #222222;">Fortunately, this error passes as we learn that this
Godzilla can rapidly evolve himself. Soon, he’s up on his two feet (with a
weirdly long tail you may not be able to stop from staring at, it seems so out
of proportion) and happily raising hell wherever he goes. The filming is truly
and awesomely spectacular here, much of it shot from high angles that give epic
perspective to the destruction. His powers also evolve and before long he’s
firing death rays from all parts of his body, cutting skyscrapers off at the first floor.<o:p></o:p></span></span></b></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Before long, the people of Japan, namely politicians, the
military and scientists, all crash into the narrative. The screenplay skips
frantically about in documentary style, rationalizing and explaining Godzilla
in scientific and evolutionary terms in great and painful detail, while, at the
same time, presenting a step-by-step procedural account of how authorities,
after much frantic drama, finally unite to fight the beast (In case we ever
face this situation here in the Bay Area, we’ll have this movie as a guide). We
never get our feet down or find any focus. This time, I actually missed Raymond
Burr. <o:p></o:p></span></b></span></div>
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<br /></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">They finally reach a point where they’re able to temporarily
stop Godzilla in his tracks. Unfortunately, the movie stops too as it whips and
jumps back and forth and around the various parties, detailing the assembly of each
moving part as they mount their final attack on Godzilla.<o:p></o:p></span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">This sequence goes on to the point the Big Guy becomes like
a Hitchcock MacGuffin, an excuse for the characters to get together rather than
the <i style="mso-bidi-font-style: normal;">raison d’état</i>. Godzilla as a
symbol for the horrors of Fukushima needs no emphasis. But this version seems
determined to use Godzilla to portray Japanese society uniting to fight off
disaster. None of these scenes are memorable, with most of the dialogue and
performances strictly functional and almost none of the characters making an
impression, except for a young Japanese-American female diplomat with
presidential aspirations . . . yes, U.S. <i style="mso-bidi-font-style: normal;">presidential</i>
aspirations. (The U.S. takes a few sharp elbows throughout.)<o:p></o:p></span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In its frantic attempt to wow us—at which it occasionally
succeeds—<i style="mso-bidi-font-style: normal;">Shin Godzilla</i> comes close to
rationalizing its title character to a nub. A fine-grained scientific
explanation isn’t required in a fantasy film. They’re better off without one. The
awe and mystery, which I believe to be at the heart of all monster stories,
won’t be found here. In fantasy stories, a little explanation goes far enough.</span></b></span><b style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span></b></div>
</div>
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<a href="https://jojud265nia2bj9sy4ah9b61-wpengine.netdna-ssl.com/wp-content/uploads/2015/07/OuterSpace-640-1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img alt="Image result for it came from outer space" border="0" class="irc_mi" height="224" src="https://jojud265nia2bj9sy4ah9b61-wpengine.netdna-ssl.com/wp-content/uploads/2015/07/OuterSpace-640-1-1600x900-c-default.jpg" style="margin-top: 91px;" width="400" /></span></a></div>
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<span style="color: #222222;"><o:p><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></o:p></span></div>
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</div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i><br /></i></span></b></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i><span style="color: #222222;"><a href="https://en.wikipedia.org/wiki/It_Came_from_Outer_Space">It Came from
Outer Space</a></span></i><span style="color: #222222;">, the 1953 science
fiction movie that inspired Steven Spielberg to one of his greatest, <i>Close Encounters of the Third Kind</i>, still
plays pretty well over sixty years later. Its story of a spaceship crashing in
the Arizona desert (here nicely played by Southern California) is a bit
by-the-numbers. Even so, it was the dawn of science fiction movies so audiences
had a perfect right to be startled and scared. It’s still atmospheric and entertaining.</span></span></b></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;">It Came from
Outer Space</span></i><span style="color: #222222;"> was adapted from a story by
Ray Bradbury and directed by Jack Arnold, with musical contributions by <a href="http://www.henrymancini.com/">Henry Mancini</a>, including a fine use of
the Theremin. The special effects deserve an A for effort, and the alien beast
is quite pleasing of aspect. Clifford Stine’s cinematography shimmers with
unseen menace. The stars, Richard Carlson, Barbara Rush and Charles Drake, do
their best with the on-the-nose dialogue and earnest speechifying, typical of much
science fiction. Unlike <i style="mso-bidi-font-style: normal;">Shin Godzilla</i>,
discussed above, they explain just enough and no more. The movie also stands
against the anti-communist paranoia that soured the world at the time,
portraying the alien others as victims of misfortune, even if they are gross
looking.<o:p></o:p></span></span></b></div>
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<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Trivia Note: Among the supporting players we like are
Joseph Sawyer, once a reliable Warner Brothers stock player and Russell Johnson
. . . yes, that Russell Johnson, aka “the Perfesser!” <a href="https://www.snopes.com/media/notnews/zodiackiller.asp">and a former
Zodiac suspect</a>. Gilligan, happily, is naught to be seen.<o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<img alt="Image result for it came from outer space" class="irc_mi" height="263" src="https://exclamationmark.wordpress.com/files/2006/08/itcamefromouterspace.jpg" style="background-color: transparent; margin-top: 183px;" width="350" /><b style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span></b></div>
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<span style="color: #222222;"><o:p><b><span style="font-family: "arial" , "helvetica" , sans-serif;"> <i>I </i></span></b></o:p></span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"><b><i>always wondered about him....</i></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">________________________________________________</span></b></span></div>
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<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
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<img alt="Image result for Tristan Jones Saga of a wayward Sailor" class="irc_mi" height="400" src="https://images-na.ssl-images-amazon.com/images/I/71nnzNHe-qL._AC_UL320_SR204,320_.jpg" style="margin-top: 90px;" width="255" /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Research for my next novel, <i style="mso-bidi-font-style: normal;">Captain Zigzag,</i> is taking me across vast oceans of research (with no
shore on the horizon). Some of the books I read land right in my boat. Others
miss, but still manage some insight and a fair amount of pleasure.<o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222;"><a href="https://www.amazon.com/Saga-Wayward-Sailor-Tristan-Jones/dp/0924486791/ref=sr_1_1?s=books&ie=UTF8&qid=1513451179&sr=1-1&keywords=Saga+of+a+wayward">Saga
of a Wayward Sailor</a></span></i><span style="color: #222222;"> by <a href="http://www.swartz.ws/tristan/index.htm">TristanJones</a>, is one of the latter. Jones was something of a notorious character in
the last century, a yachtsman who sailed the globe, achieving the odd distinction
of sailing at both the highest (Lake Titicaca in the Andes) and lowest (The
Dead Sea) bodies of water on the globe, a stunt he recounts in his book <i style="mso-bidi-font-style: normal;">The Incredible Voyage</i>.<o:p></o:p></span></span></b></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">He also wrote other memoirs that, on examination, seem to expose him as a true-life unreliable narrator.
(His account of having served in the British Merchant Marine during World War II
seems to have been easily scuttled by one researcher). <o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">How much of <i style="mso-bidi-font-style: normal;">Saga</i>
is factual didn’t concern me too much, as Jones is a colorful and excellent
yarn-spinner. Whatever the facts of particular events, the details of sailing
and life aboard his little yacht <i style="mso-bidi-font-style: normal;">The
Creswell</i> with his faithful three-legged Labrador, Nelson, ring with right
details, boisterous humor, high color and deep affection. <o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">As he tells it, Jones endured hair-raising hurricanes, pesky
passengers and a near-fatal midnight deep-sixing by a whale in the
mid-Atlantic. Set during the mid-1960s, the book also leaves a vivid impression
of the world at that time as Jones makes his way back and forth across the Atlantic
and in and around the coastlines and canals of Europe. His accounts of life
ashore under Spain’s Franco dictatorship are fascinating and fairly compelling.<o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In this post-truth area, some readers may find even the
idea of such a book offensive, but, true or not, Tristan Jones makes for good
company, so long as you wear a healthy scowl and keep a shaker of salt on your bed
stand.<o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<span style="color: #222222;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">After all, we ain’t talking about the President of the
United States here.<o:p></o:p></span></b></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Copyright 2017 by Thomas Burchfield<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Thomas Burchfield’s <i style="mso-bidi-font-style: normal;">Butchertown</i>, a ripping, 1920s gangster shoot-‘em-up<span style="mso-spacerun: yes;"> </span>novel has been called “incendiary by David
Corbett (<i style="mso-bidi-font-style: normal;">The Art of Character</i>) and “A
sexy, violent non-stop thrill ride deep
into the seedy underbelly of post-World War I San Francisco” by
Booklife/Publishers Weekly. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a> scorerd the IPPY, NIEA, and Halloween Book Festival awards for horror
in 2012. He’s also author of the original screenplays <i style="mso-bidi-font-style: normal;">Whackers, The Uglies, Now Speaks the Devil</i>,<i style="mso-bidi-font-style: normal;"> </i>and<i style="mso-bidi-font-style: normal;"> Dracula: Endless Night</i>
(e-book editions only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler House Publishing</a>,
all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>, <a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's Books</a>, and other retailers. His reviews have
appeared in <a href="http://brightlightsfilm.com/">Bright Lights Film Journal</a></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">
and The Strand Magazine and he published a two-part look at the life and career
of the great film villain (and spaghetti western star) Lee Van Cleef in <i style="mso-bidi-font-style: normal;">Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</span><o:p></o:p></b></div>
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com2tag:blogger.com,1999:blog-543569223349021253.post-19760634270635600662017-08-02T14:42:00.000-07:002017-09-04T11:58:12.082-07:00Burchfield at the Bijou: "A Ghost Story"<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img id="img" src="https://movies.mxdwn.com/wp-content/uploads/2017/07/A-Ghost-Story-Sundance-review-770x470.png" style="height: 360px; width: 589px;" /> </span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I'm a major fan of ghost stories. Besides sending me into shivers, they're
one of the most underrated literary and cinematic forms. At their best, they
poetically touch on such themes as mortality, the power of the past over the
present, and fundamental human loneliness and vulnerability. </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While not great, David Lowery’s <i>A
Ghost Story</i> (seen on a Friday afternoon at the Piedmont Theatre in Oakland)
is a genuinely poetic film that quietly captures some of the crucial themes
drifting through the best the genre has to offer.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The movie is both modest and ambitious. Like all the best supernatural
tales, the plot as simple as a bed sheet. A young man, played with great
patience by Cas<span class="textexposedshow">ey Affleck, dies and returns to
haunt his wife, played with equal stoic grief by Rooney Mara. The twist is he’s
draped in the classic white sheet—with the eye holes, done just right—I first
recall seeing in an Abbott and Costello movie <i>Hold That Ghost</i>. It’s a trope found in the work of the master M.R.
James before becoming the go-to costume for millions of little kids at Halloween.</span></span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>A Ghost Story</i> could well have become Ed Wood on a big budget. But it's not. Nor is it some sniggering post-modern camp artifact or an <i>Airplane</i>-style
parody (which I might have tolerated). The costume really expresses the loneliness and alienation whispering
under most ghost stories. How can you reach out to anyone when your soul is
trapped under a bed sheet? To be a ghost is to be alone and the sheet makes the
character’s loneliness as palpable as a cold breath.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Lowery films his odd little tale brilliantly in long quiet takes, shot in
traditional 1:33 ratio (with rounded edges, like in old Polaroid photos!), a
great format for films where the intimacy imposed by the tight frame compresses
the feelings so you get a sense of hearts and minds about to burst. I wish more
filmmakers—especially of smaller films—considered this format. And it’s all
handled with great delicacy and just enough wit to leaven the great sadness
underneath.</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Unfortunately, the movie gets a little abstract toward the end—there’s a
side trip into beery kitchen table metaphysics I might have done without and a
time travel twist that made me scowl and broke some of the tension. But it's
wrapped up with an eerie sense that can be truly called “ghostly.”</span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Through it all Casey Affleck maintains exquisite patience having to act from
under a bed sheet. (Most actors would eventually lose it.) Filming must have
taken enormous patience for all concerned. Cast and crew—including composer David
Hart whose score moans and seethes throughout—deserve credit for this
worthwhile haunting. And given the generic title, it’s clear the ghost story
matters as much as it ever did. They will be with us so long as we continue to live, and die.</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Copyright 2017 by
Thomas Burchfield</b></span></span></div>
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</span></span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Photo by author</b></span></span></div>
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up
novel is now out! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i>Whackers, The Uglies, </i><i>Now Speaks the Devil </i>and <i>Dracula: Endless Night </i>(e-book editions
only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler
House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a> </i>and <i>The
Strand </i>and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</b></span></span><br />
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<![endif]-->Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-8028843664151776242017-05-05T14:41:00.000-07:002018-01-24T17:38:19.159-08:00ANNOUNCEMENT: BOOK RELEASE PARTY FOR BUTCHERTOWN, SATURDAY MAY 13, 2017<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUrUFZigjG85mtFeJf-LFbXlf5L8ckNgx-8kXpz6wxre_AsQ9kPAl7L7-K94eFo5qi7C37r3KaXK97LlxGe2iYHtfwq9yi6HNVynL78lhHVjTSbeLXlcKXywYa4p3rycaIo6XspIB5jqM/s1600/butchertown+MEDIUM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUrUFZigjG85mtFeJf-LFbXlf5L8ckNgx-8kXpz6wxre_AsQ9kPAl7L7-K94eFo5qi7C37r3KaXK97LlxGe2iYHtfwq9yi6HNVynL78lhHVjTSbeLXlcKXywYa4p3rycaIo6XspIB5jqM/s400/butchertown+MEDIUM.jpg" width="266" /></a></div>
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<span style="mso-bookmark: _Hlk479340212;"><b style="mso-bidi-font-weight: normal;">One
Bad Weekend in One Bad Town . . . <i style="mso-bidi-font-style: normal;">Butchertown</i>.</b></span></div>
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<span style="mso-bookmark: _Hlk479340212;"></span>
<br />
<div class="MsoNormal" style="line-height: normal;">
<a href="https://www.blogger.com/null" name="_Hlk479340242"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Calibri;">“</span></i></b></a><span style="mso-bookmark: _Hlk479340242;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri;">A darkly fascinating
novel.</span><i style="mso-bidi-font-style: normal;">
Butchertown </i>is incendiary</b></span><span style="mso-bookmark: _Hlk479340242;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Calibri;">”—</span>
</i>David Corbett, award-winning author of <i style="mso-bidi-font-style: normal;">Mercy
of the Night</i>.</b></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="mso-bookmark: _Hlk479340242;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">“Burchfield rounds
up a great cast of
gangsters and gunsels to bat his wide-eyed hero around.”—Don
Herron, author of <i style="mso-bidi-font-style: normal;">the
Literary World of San Francisco and Its
Environs </i>and <i style="mso-bidi-font-style: normal;">The
Dashiell Hammett
Tour</i></span></b></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="mso-bookmark: _Hlk479340242;"><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">“A sexy, violent
non-stop thrill ride
deep into the seedy underbelly of post-World War I San
Francisco!” Critic’s
Report, The BookLife Prize, sponsored by Publishers Weekly.</span></b></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<span style="mso-bookmark: _Hlk479340242;"></span>
<br />
<div align="left" class="InsideAddress" style="text-align: left;">
<span style="font-family: "calibri" , sans-serif; font-size: 11.0pt;">Oakland, CA, 5/5/2017</span><span style="font-family: "calibri" , sans-serif; mso-bidi-font-family: Arial;"> </span><span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">– <span style="mso-spacerun: yes;"> </span>The first official book
release party for <i style="mso-bidi-font-style: normal;">Butchertown</i>,
Thomas Burchfield’s new
novel of 1920s gangland San Francisco Bay will be held this
coming Saturday May
13, 2017 at Stookey’s Club Moderne, 895 Bush Street (at Taylor)
from 3:00-4:30
PM, with doors opening at 2:30. The author will read from <i style="mso-bidi-font-style: normal;">Butchertown</i>, plus an excerpt from an upcoming
novel and will
provide signed copies of <i style="mso-bidi-font-style: normal;">Butchertown
</i>for
sale. </span></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<br /></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">Butchertown
</span></i><span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">tells the story of Paul Bacon<i>,</i> ex-Navy
boxer,
Jazz-Age playboy and junior city attorney, who’s moved to
California expecting
sunshine and sandy beaches. But all he’s found is lonely misery
in the chilly
fog-choked canyons of 1920s San Francisco. </span></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<br /></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">Then, one foggy night, he meets
Molly Carver. Alluring,
irresistible, mysterious, she lures Paul across San Francisco
Bay to her
hometown of Evansville, to what she claims is the California
promised in the
travel brochures.</span></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<br /></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">But Molly’s promise is only
camouflage for a dangerous game.
Evansville is no paradise but a whirling sewer of sin and
perdition; a
wilderness of slaughterhouses, factories, oil refineries,
gambling dens,
brothels, and speakeasies even more decadent than San Francisco.
And within its
grimy, gritty heart, a gang war smolders, ready for someone to
throw a match.</span></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<br /></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<span style="font-family: "calibri" , sans-serif; font-size: 12.0pt;">They don’t call it Butchertown for
nothing.</span></div>
<div align="left" class="InsideAddress" style="text-align: left;">
<br /></div>
<div class="font8">
<span style="font-family: "calibri" , sans-serif; mso-bidi-font-family: "Times New Roman";">ABOUT THE VENUE: </span><span style="font-family: "calibri" , sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://www.stookeysclubmoderne.com/"><span style="color: black; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">Stookey’s Club Moderne</span></span></a>, located
between Nob Hill and
Union Square, is a lounge evoking the style of post-prohibition
San Francisco
(1930-1940). </span></div>
<div class="font8">
<span style="font-family: "calibri" , sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
bar’s classic cocktails and Streamline-Moderne design, brings
its guests back
in time and into the mood of Dashiell Hammett’s San Francisco.
(It is also the author's favorite watering hole.)</span></div>
<div class="font8">
<br /></div>
<div class="font8">
<span style="font-family: "calibri" , sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b style="mso-bidi-font-weight: normal;">Contact:<br />
</b>Thomas Burchfield<br />
<a class="moz-txt-link-abbreviated" href="mailto:amblerhouse@att.net">amblerhouse@att.net</a><br />
(510) 817-4432<br />
<a href="http://amblerhouse.blogspot.com/"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;"><span style="color: black; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: black;">http://amblerhouse.blogspot.com/</span></span></a> </span></div>
-- Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-40008980139258717782017-04-20T11:21:00.001-07:002017-04-23T12:10:22.534-07:00ANNOUNCEMENT: BURCHFIELD TO APPEAR AT ACLU BENEFIT<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFeRNHreNTriRQlJfXw8PTMKKYfiLweq3uF5UENGGBc096WolxyST58tlYuTjVwoerxj5C1x5tOaf_bNGbZxu1KMgEdVcHIV6aRGmn-d0hKnw0j4wZpctAFHAp_QCrGWKj3aB-QRPm7U/s1600/IMG_5165.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvFeRNHreNTriRQlJfXw8PTMKKYfiLweq3uF5UENGGBc096WolxyST58tlYuTjVwoerxj5C1x5tOaf_bNGbZxu1KMgEdVcHIV6aRGmn-d0hKnw0j4wZpctAFHAp_QCrGWKj3aB-QRPm7U/s400/IMG_5165.JPG" width="400" /></a></div>
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<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">CORRECTION: THE EVENT START<span style="font-family: "arial black" , sans-serif;">S AT 5:00 PM!! DOORS OPEN AT<span style="font-family: "arial black" , sans-serif;"> 4:30!</span></span> </span></b></span><br />
<br />
<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">I hereby invite anyone who stops
by this site—and happens to be in the neighborhood—to attend a benefit for the
ACLU this coming Sunday, April 23, 2017, at the fabulous Stookey’s Club
Moderne, located at 895 Bush, at Taylor, in San Francisco.</span></b></span></div>
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</span><br />
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<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">Doors open at <span style="font-family: "arial black" , sans-serif;">4</span>:30 PM and the
festivities start at <span style="font-family: "arial black" , sans-serif;">5</span>:00 PM and will feature a reading of Allen Ginsberg’s
revolutionary <i>Howl</i>, plus music by
Sara Klotz de Aguilar, a fashion exhibit by Paul Gallo, plus various other
performances and readings, including me, who’ll be reading—not from <i>Butchertown, </i>though I’ll have a copy to
show—but from one of my “humor” pieces that seems somewhat relevant to
our current anxieties (also known as “satire” though I hope it’s funnier than
that).</span></b></span></div>
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<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">Opening its doors in 2016, Stookey’s
Club Moderne “classic cocktails brings its guests back in time and into the
mood of Dashiell Hammett’s San Francisco.”</span></b></span></div>
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<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">To that, I’ll add it’s a fine
place to find a good drink and intelligent company. </span></b></span></div>
<span style="font-size: large;">
</span><br />
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</span><br />
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<span style="font-size: large;"><b><span style="font-family: "arial black" , sans-serif;">(Trivia note: In <i>The Maltese Falcon, </i>Sam Spade calls
Effie his secretary from an all-night drugstore at Bush and Taylor to tell her
of Miles Archer’s demise. A review by Stookey's co-owner Aaron Cole of the city directories
of the era indicate that there was indeed, during the late 1920s, an all-night
drugstore at the very spot where Stookey’s now stands!)</span></b></span></div>
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</span><br />
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<span style="font-size: large;">
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<span style="font-size: large;"><b>Copyright 2017 by
Thomas Burchfield</b></span></div>
<span style="font-size: large;">
</span><br />
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<span style="font-size: large;"><b>Photo by author</b></span></div>
<span style="font-size: large;">
</span><span style="font-size: large;"><b>Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up
novel will appear next week! His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i>Whackers, The Uglies, </i><i>Now Speaks the Devil </i>and <i>Dracula: Endless Night </i>(e-book editions
only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler
House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a> </i>and <i>The
Strand </i>and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</b></span>Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-77391567135747944902017-02-24T12:33:00.000-08:002017-02-24T12:33:10.184-08:00My Kazillionith Annual Promise to NOT Watch the Oscars (and Try and Make Me!)<br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkLAIm4YjWUWgTh3zMBrnWKnAL9bvdHpudVTJ9t5ZqY2857hXhusOk-L8W0ikWfQv211MmeHJnU9nQPBPNmstRj_mdJqwW05-_jYNO80nRLPfc92hMTI-NXy1DFiOSjxv3w1rrF8FSXVg/s1600/morriconeoscar2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkLAIm4YjWUWgTh3zMBrnWKnAL9bvdHpudVTJ9t5ZqY2857hXhusOk-L8W0ikWfQv211MmeHJnU9nQPBPNmstRj_mdJqwW05-_jYNO80nRLPfc92hMTI-NXy1DFiOSjxv3w1rrF8FSXVg/s400/morriconeoscar2016.jpg" width="400" /></a></b></span></span></div>
<br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"><b> <i><span style="font-size: small;">Ennio Morricone with Quincy Jones</span></i></b></span></span></div>
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<br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"><b>Last year, 2016, I watched the Oscar telecast. Rather, I watched teeny tiny, eensy weensy bit of the Oscar telecast.</b></span></span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"><b>While grazing through an old favorite on TCM ( I recall it was <i>The Adventures of Robin Hood</i>, starring Errol Flynn, never won an Oscar), I managed to pull up a <i>Slate</i> article listing the Oscars in the order they would be presented. I popped in and out of the telecast a couple of times, checking against the list, and when it came time . . . </b></span></span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"><b>Well, there he was: Ennio Morricone, more frail now than when he picked up his honorary Oscar from Clint Eastwood in 2007. </b></span></span><br />
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<b><span style="font-size: large;">ONCE UPON A TIME IN OSHKOSH</span></b></div>
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<b><span style="font-size: large;">I restarted
my not-watching-the-Oscars habit on February 25, 2007, after composer Ennio
Morricone strolled offstage to his well-earned standing ovation, toting that
gold-plated hat stand. I took a minute to smugly feast and gloat on how a
tone-deaf world at last had caught up with me.</span></b></div>
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<b><span style="font-size: large;">Then I switched
to a PBS <i>Nature</i> documentary on the Andes,
no Morricone music, just sets and lighting by God.</span></b></div>
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<b><span style="font-size: large;">I haven’t—<a href="http://tbdeluxe.blogspot.com/2011/02/my-annual-promise-to-not-watch-oscars.html">well,almost haven’t</a>--watched the Oscars since.</span></b></div>
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<b><span style="font-size: large;">CUE HARP
MUSIC AS SCREEN GOES WAVY.</span></b></div>
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<b><span style="font-size: large;">The
Year: 1974 (David Niven and the male streaker “parading his shortcomings”).</span></b></div>
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<b><span style="font-size: large;">The
place: a theatre party in Oshkosh, Wisconsin.</span></b></div>
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<b><span style="font-size: large;">I watch
with amazed anguish as <i>The Sting</i>,
starring Paul Newman and Robert Redford, takes home <i>nine</i> statuettes.</span></b></div>
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<b><span style="font-size: large;"><i>What</i>, my tender soul swoons, <i>was that
about?</i> An ex-movie reviewer and high-minded young actor, I’d been patient for
years as the Academy passed over much better films by Sam Peckinpah, Stanley Kubrick,
and others. What is this <i>Sting</i>, this well-upholstered,
but forgettable lark, doing floating away in glory as though it were <i>Ben Hur</i> (which, even fifty years later,
still rolls and storms with genuine oomph and artistry?)</span></b></div>
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<b><span style="font-size: large;">For
sixteen years thereafter, I avert my delicate eyes on Oscar night. I watch
Ingmar Bergman films and weep at the cold, cruel world.</span></b></div>
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<b><span style="font-size: large;">“JUST WHEN I THOUGHT I WAS OUT,
THEY PULL ME BACK IN!”</span></b></div>
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<b><span style="font-size: large;">CUT TO:
Late 1980s: I start a major push into the screenwriting profession, aware that <i>whatever</i> profession I choose, I must
educate myself about it, explore its most arcane corners.</span></b></div>
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<b><span style="font-size: large;">So, I
start watching the Oscar telecast again. Every single year. But not out of
pleasure.</span></b></div>
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<b><span style="font-size: large;">I also subscribe
to <i>Daily Variety</i>, <i>Premiere </i>and screenwriter-related
publications. I become a screenwriting pedant, spinning the tale of the screenwriter
who claimed to direct the final scene of <i>Casablanca</i>
while pontificating on how the world would someday recognize the screenplay as
a form of epic poetry. (And where’s m' damned Pulitzer anyway?)</span></b></div>
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<b><span style="font-size: large;">I attend
screenwriting conferences from Hollywood to Austin, Texas, where I pitch and
grovel to agents and producers. When I get home, friends greet me with a long
cool stare:</span></b></div>
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<b><span style="font-size: large;">“Don’t
you wash your <i>nose</i> once in awhile?”</span></b></div>
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<b><span style="font-size: large;">I probably
never display such intense neediness and greed as I do in those years; nor will
I ever encounter again such fruitless encouragement. (Most of the people I met <i>were</i> nice and meant well.).</span></b></div>
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<b><span style="font-size: large;">And my
screenplays did get better and better until—</span></b></div>
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<b><span style="font-size: large;">CUT TO:
September 11, 2001. I realize that no one, including me, will be in the mood
for my terrorist-plot screenplay.</span></b></div>
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<b><span style="font-size: large;">And by
the time that cloud has passed, I’ll be too old, by industry standards, to be acknowledged
as a functioning life form. (“People over forty?” a Hollywood saying goes. “Aren’t
those the ones with hair in their ears?” Yeah, I made that up, but pass it on,
anyway.)</span></b></div>
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<b><span style="font-size: large;">I’m already
souring on the biz anyway. A fellow screenwriter who ripped up her roots to
move to Hollywood with her children told me a story of being shown around her
son’s new private school and seeing the following sign:</span></b></div>
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<b><span style="font-size: large;">“Please
be aware that many pupils of this school may be parented by employees of the
film and television industry, so please use caution in expressing your opinion
about any production or program.”</span></b></div>
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<b><span style="font-size: large;">Joseph
Stalin would have loved Hollywood.</span></b></div>
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<b><span style="font-size: large;">But even
as this latest dream swirls down the sink, I keep watching the Oscars <i>ev</i>-ery, <i>sing</i>-le year until 2007. And, right now, I’d share with you some fond
memories . . . um . . . let’s see: old lion Jack Palance comparing his intestinal extrusions
to host Billy Crystal, followed by Jack’s set of one-armed push-ups; something
about Stanley Donen dancing with Oscar; Clint Eastwood getting his statue for <i>Unforgiven</i>. There was Letterman, Oprah,
and Uma . . . .</span></b></div>
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<b><span style="font-size: large;">Actually,
I have more fun calling up those nightmares where I’m standing naked in a White
House reception line.</span></b></div>
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<b><span style="font-size: large;">THE END OF FUN</span></b></div>
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<b><span style="font-size: large;">The
Oscars were, once upon a time, about Things Going Wrong: <a href="http://www.sacheenlittlefeather.net/pages/1/index.htm">Sacheen Littlefeather</a>,
Mr. Niven, or Clint gamely covering for a traffic-tied Charlton Heston. Now,
the Academy has fixed it so accidents and miscues hardly ever happen. Nothing
messy, nothing entertaining. The <i>schadenfreude</i>
has gone out of it.</span></b></div>
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<b><span style="font-size: large;">During my
last era of Oscar-watching, I would shrug as other mouths foamed about the Crime
against Humanity that awarded <i>Silence of
the Lambs</i> (1990) Best Picture instead of <i>JFK</i>. In those days, I never felt particularly partisan about the
Oscars. I’ve always been more likely to shout: “You’ve got to see this movie!”
than “This movie <i>has</i> to win an Oscar
. . .or . . . else!”</span></b></div>
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<b><span style="font-size: large;">Remember:
<i>Citizen Kane: </i>no Oscars; Hitchcock:
never won an Oscar. Even with the new voting rules expanding the number of Best
Picture nominees, a film like <i>Tinker,
Tailor, Soldier, Spy</i> (2012) only squeezes through the door in other
categories, while a farrago like <i>Inception</i>
(2011)<i> </i>gets a Best Picture nod. The
raft of excellent to great movies that never won any awards at all is nearly
endless and will remain so; as will the list of mediocre (<i>Oliver</i>, 1968) and good but not great movies (<i>Driving Miss Daisy</i>, 1989) that do win awards and then dissolve to
mist.</span></b></div>
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<b><span style="font-size: large;">I’m not
mad about any of this. My favorite movie of 2016 is the great horror film, <a href="https://www.youtube.com/watch?v=iQXmlf3Sefg"><i>The Witch</i>,</a> a film I believe will be regarded as a genuine classic someday (As I walked out of the screening, I pumped my fist, a gesture I'd not made in years). Only the other day, did I finally take a look at the list of best pictures. It wasn't there.</span></b><br />
<b><span style="font-size: large;"><br /></span></b>
<b><span style="font-size: large;">Now: Do you see steam bursting out my ears? Do you see foam bubbling from my mouth, as I call upon Black Philip? No, you don't. (If you want to see convulsions, try cooing the words "Donald Trump" to me and see what happens.)</span></b><br />
<br />
<b><span style="font-size: large;">I believe that all awards are contingent; there are so
many factors in the zeitgeist—for instance, Harvey Weinstein and Scott Rudin--leading
to these outcomes, that longer-lasting considerations, like Art, never will have
much of a chance.</span></b></div>
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<b><span style="font-size: large;">A
conversation about the Oscars isn’t necessarily a conversation about what’s a
good movie.</span></b></div>
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<b><span style="font-size: large;">After I
quit screenwriting in the early 2000s, I came to recognize I had no dog in the
hunt. My boredom deepened. I kept watching, simply out of habit. I would tune
away from those horrible Best Song productions, then forget to tune back. The only
sequence I liked was the “In Memoriam” portion, but Turner Classics now does a
much better presentation.</span></b></div>
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<b><span style="font-size: large;">IT’S THEIR PARTY AND THEY’LL CRY
IF THEY WANT TO</span></b></div>
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<b><span style="font-size: large;">For a
moment, let’s pretend that I’m not writing about Hollywood, but about the American
Association of Widget Makers (AAWM). Every year, the AAWM holds it annual
convention in <i>ohhhhhh</i> . . . Turlock, California.
Widget executives from all over attend. They show off last year’s widget models.
After waves of drunken hoo-hahing, there’s an awards ceremony: Best Widget made for the Oro Dam Spillway, Best Widget Used on the Titanic, and so on.</span></b></div>
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<b><span style="font-size: large;">Sure,
there are major differences between the AAWM and the Academy and their parties,
but allow me to mention two major similarities and one major difference:</span></b></div>
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<b><span style="font-size: large;">First, a
similarity: Both the AAWM and the Oscars are <i>private industry affairs</i>, held for the benefit of manufacturers and
their employees.</span></b></div>
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<b><span style="font-size: large;">Now,
for that single overarching difference: You and I cannot watch the AAWM party on
our viewing machines. We can’t even get in the door.</span></b></div>
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<b><span style="font-size: large;">The
other major similarity: Both the AAWM and the Academy really don’t give a tinker’s
damn what we think.</span></b></div>
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<b><span style="font-size: large;"><i>Nor should they.
At all</i>.</span></b></div>
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<b><span style="font-size: large;">In
fact, if Hollywood <i>really</i> wanted,
they could dial the Wayback Machine to 1928, when the first Oscar ceremony took
place behind closed doors. They could cut the red carpet up for cat scratching
posts and lock the doors as they flip us all the bird: “We’ll give Best Picture
to<i> <a href="http://www.hollywoodreporter.com/review/yoga-hosers-sundance-review-858886">Yoga Hosers</a></i>
if we want to, you <i>stinking proles</i>.
Deal with it!”</span></b></div>
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<b><span style="font-size: large;">Whether
you’re Roger Ebert or Ain’t It Cool News, your opinion doesn’t count. You’re attending
a boring party where you’re not really all that welcome. </span></b></div>
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<b><span style="font-size: large;">Of
course, nowadays there’s too much hype and money involved for the Academy to dial
the public back to private, even while audiences dwindle. The Oscars are now an
arm of the studio marketing departments, who appear to be the ones running the
show. The telecast is now too fused with Worldwide Cultural Consciousness for the
Academy to follow best practices of the AAWM.</span></b></div>
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<b><span style="font-size: large;">After
all, what if we stopped going to the movies?</span></b></div>
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<b><span style="font-size: large;">OSCARS. WHO NEEDS ‘EM?</span></b></div>
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<b><span style="font-size: large;">Or, what
if <i>you</i> stopped going to the movies,
eh? Because, I still love the movies and I don’t need no stinking award show to
keep me watching <i>them</i>. To me, the
movies are<i> </i>the appetizer, main
course, dessert, and after-dinner single malt. The chefs can pat themselves on
the back and drink until they pass out, face down in the gravy boat, without
me.</span></b></div>
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<b><span style="font-size: large;"> </span></b></div>
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<b><span style="font-size: large;">Every
year reviewers write boring articles about how boring the Oscar telecast is,
like one of those boring Michelangelo Antonioni movies about how boring life is (or even this article).
I only give 'em a glance to see if Sarah Silverman wins best actress for her turn in the new gender-bending James Bond movie; or if George Clooney gave a full-throated endorsement of Steve Bannon; or if Barack Obama pops in for a duet with Joe Biden of “Do-Re-Mi”
from <i>The Sound of Music</i>. Then I watch
the clip on YouTube. If I feel like it.</span></b></div>
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<b><span style="font-size: large;">So, on Oscar
night, instead of expending your finer feelings—and you do have them--on pressing
your nose to a tinsel window, try watching a movie instead, at home or elsewhere.</span></b></div>
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<br /></div>
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<b><span style="font-size: large;">Well, from now on, I can dead stop. This year, it'll be a movie on TCM, or a DVD from the library and there's that excellent PBS Civil War drama, <i>Mercy Street</i>, which I urge y'all to get to know!</span></b><br />
<br />
<b><span style="font-size: large;">And I don't care, really. Just so long as it's good. </span></b><br />
<br />
<b><span style="font-size: large;">(Re-edited 2/20/12; 2/23/12; 2/24/17). </span></b></div>
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<b><span style="font-size: large;">Copyright
2017 by Thomas Burchfield</span></b></div>
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<br /></div>
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<span style="font-size: large;"><b>Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up<span>
</span>novel will appear this April 2017. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i>Whackers, The Uglies, </i><i>Now Speaks the Devil </i>and <i>Dracula: Endless Night </i>(e-book editions
only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler
House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a> </i>and <i>The
Strand </i>and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</b></span><br />
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-50495021330795673052017-02-14T12:06:00.001-08:002017-02-14T12:06:24.572-08:00David Farr (1942-2016)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66x2lHWKE2KCeoKuDExvRWP3kk4zL0gq74aTzqRlQdbBCzVp8MxR9rtw8gmbo04vBaavtlFDMM_7GbZLoUkasdhyphenhyphenj5G19hABowYghvP7HJZ3WbB56Hiqugky5Vi7NuHC8YDEDHs2Ql8A/s1600/DavidFarrwedding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66x2lHWKE2KCeoKuDExvRWP3kk4zL0gq74aTzqRlQdbBCzVp8MxR9rtw8gmbo04vBaavtlFDMM_7GbZLoUkasdhyphenhyphenj5G19hABowYghvP7HJZ3WbB56Hiqugky5Vi7NuHC8YDEDHs2Ql8A/s320/DavidFarrwedding.jpg" width="240" /></a></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> <i><span style="font-size: small;">David Farr (left) and Ed Roynal with Best Dog on their wedding day, February 2016 (with photo-bombing couple in background)</span></i></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">On a recent Saturday evening, the little hand bell group at
<a href="http://www.stpaulsoakland.org/">St. Paul’s Episcopal Church</a> in Oakland rang bells for David Farr for the last
time.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">David was St. Paul’s choir and music director for seven
years. Amid the tumult and death of 2016, his unexpected passing on December
15, mere months after both his retirement and wedding to his longtime partner
Ed Roynal, may seem a minor event to the wider world. But to St. Paul’s
congregation, David’s family and colleagues, and I’m sure many others, it dug a
deep hole in the heart. <span> </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">I adored David Farr. The best adjective I can find for him
is sweet, as sweet and holy as the music that rose like incense under St.
Paul’s old vaulted ceilings under his quiet, patient direction.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">He was one of the essential reasons I chose St. Paul’s as my
church home. “Music is from God,” he once declared to us, an echo of my belief
that it is surely the greatest evidence for His existence.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Being of recent vintage (both as Christian and St. Paul’s
parishioner) I had no notion of the world of St. Paul’s before I walked through
the door during Pentecost in 2011. According to those who eulogized him at the
service, his knowledge of ecclesiastical music—especially Anglican—was truly
astounding.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">In the summer of 2012, with the choir on vacation, Elizabeth
and I joined a vocal workshop he organized. I like to think it was an audition
to join St. Paul’s superb choir. But sadly, about three weeks in, an enigmatic vampirical
malady hooked its fangs in me and stayed until the fall. Afterward, I hoped he
would start his workshop up again, but that didn’t happen.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Instead there came a Sunday when he approached me after services,
his face aglow, and asked, “Thom! Would you and Elizabeth consider joining the
bell choir we’re starting!?”</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">David was one of the few people to get my puckish, punnish
humor. After I once dropped one of my god-offal puns, his eyes froze and he
heaved a little Anglican sigh as he turned to my wife: “Oh, you poor dear . . .
how do you live with that?”</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Jeff Bellamy, our bell director is nicknamed “Paco” and
David couldn’t have been more delighted when I suggested we call our bell choir
“Paco-Bells.” (The idea was shelved as being a bit silly for St. Paul’s august
chambers and sacred mission.)</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Elizabeth and I stayed with the bell choir for over a year. Through
some mysterious workings, my last day on bells, February 7, was also the day
David and Ed were married in St. Paul’s. I couldn’t have been prouder to play
for them. I managed to attend, as a “civilian,” David’s retirement concert that
May.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">David also me to read my first Dorothy Sayers novel, <i>The Nine Tailors</i>. I didn’t much care for
that one, but I was not surprised to later learn that David was a deep fan of
the sub-genre of Golden Age Mysteries, with the largest collection of twentieth-century
British whodunits and thrillers I’ve ever seen. I was only able to give it a cursory
inspection when we attended a dinner party at his Oakland home in the fall of
2015. That too is a fine memory, tinged with a little regret that we didn’t
talk more.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">When his mother passed a few years ago, I offered my
condolences. His face glowing, he said, “You know how it happened? She opened
her arms to it!”</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">At the end of Saturday night’s service, as David’s ashes
were carried out to “For All the Saints” with the bells chiming over, one of the
ringers called out “This is for you, David!”</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">No one in the church heard the cry . . . but, surely, it was
heard.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Copyright 2017 by
Thomas Burchfield</b></span></span></div>
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<br /></div>
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up<span>
</span>novel will appear this April 2017. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i>Whackers, The Uglies, </i><i>Now Speaks the Devil </i>and <i>Dracula: Endless Night </i>(e-book editions
only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler
House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a> </i>and <i>The
Strand </i>and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</b></span></span><br />
Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-45998944596128377752017-01-27T13:00:00.000-08:002017-01-27T14:41:40.640-08:00Eye on Books: "Oceans Apart" by Kevin McCarey<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1Ni8h8q_H1DPy4Y6ngqCp6VXfeeYIB7Eczp0Efve0-FdW60-fmowDcppUhNXD9xlOHSvaci-r3oUAxmaMzsp5y75fLTxmesX_4UrM4ZJQ5TL-QMoflEAv9290Ddgi8RxK5aL9JcazR8/s1600/51%252B95SVQ09L._SX315_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1Ni8h8q_H1DPy4Y6ngqCp6VXfeeYIB7Eczp0Efve0-FdW60-fmowDcppUhNXD9xlOHSvaci-r3oUAxmaMzsp5y75fLTxmesX_4UrM4ZJQ5TL-QMoflEAv9290Ddgi8RxK5aL9JcazR8/s400/51%252B95SVQ09L._SX315_BO1%252C204%252C203%252C200_.jpg" width="253" /></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While my own boy’s soul never heard the call of the sea, many
another young man has dreamed of setting sail since the dawn of human perception.
In the wake of those adventures, a great literature has arisen, including
countless memoirs by those who’ve sailed in times of both peace and war; for
profit and for glory.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">One of the latest is <i><a href="https://www.amazon.com/Oceans-Apart-Kevin-McCarey/dp/1889901660/ref=sr_1_1?s=books&ie=UTF8&qid=1453558538&sr=1-1&keywords=Oceans+Apart+Kevin+McCarey"><span style="font-style: normal;">Oceans Apart: The Wanderings of a Young Mariner</span></a></i>
by Kevin McCarey (<a href="http://www.glencannon.com/adventure.html">The
Glencannon Press</a>, 241 pp., 2016). <a href="http://www.kevinmccarey.com/">McCarey</a>
is a distinguished, prize-winning documentary filmmaker who’s produced nature films
for PBS and the National Geographic, among others. Several Emmy and Peabody
awards shine from his mantle.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">But years before finding his life’s work, McCarey spent part
of his youth as a merchant seaman, a trade that, thanks to various
technological changes, has been in decline for the last five decades.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Full disclosure: McCarey was a family friend, though about a
decade older than I. We’ve only recently reconnected.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">McCarey was born and raised down the road from me, in Putnam
Valley, New York, across the border from where I lived in Westchester County, a
bit east of the Hudson River. I can state plainly, the Hudson River Valley is a
most beautiful part of the world, but unless you have money, it can be a hard
and ugly land on which to live; a place you need to escape from. Country life
is no stroll through the woods for those without.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">McCarey’s family were “tenants on a perpetually fallow
potato farm.” They were an excellent illustration of Tolstoy’s dictum that each
unhappy family is unhappy in its own way. As his father, a frustrated,
penniless comic-strip artist, was sinking into alcoholic self-pity, his high-spirited
mother was raising Kevin and his three brothers by the simple dictum “Don’t get
caught!”</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While playing hokey by the Hudson near Peekskill one day
during the early 1960s, McCarey espied an old World War-II Liberty ship being nudged
and dragged away from the Ghost Fleet (whose gray misty silhouettes I also recall)
by a tugboat before sailing off down the Hudson River.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“But to where?” he writes. “What ports of call? I wondered.
Buenos Aires? Shanghai? Zanzibar? The other ships, stuck at anchor for almost
two decades, must be envious, I thought. And I was envious, too.”</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">If he’d known at the time where that vessel was
headed—likely Vietnam, as that war was already brewing—McCarey might have
hesitated. But even if he had known, the sea had made its irresistible call.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Shortly afterward, he enlisted at the <a href="http://www.sunymaritime.edu/">State University of New York Maritime
College</a> for several years of hard study and youthful hijinks. After
graduating, “Maharry,” as he was called by one of his mates, found himself on
freighters bound across the Seven Seas. While his itinerary seems inexact and
sometimes confusing—given this is a memoir rather than a formal autobiography—he
takes the reader on waves of adventure that teem with gamy colorful characters,
including crazed captains, dissolute sailors, and sex workers (one of whom, a
Portuguese girl, lured McCarey into posing as her fiancé to help her put on a
respectable face for her strict family.)</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Then there was the time that McCarey took a quick dip in the
middle of the Atlantic. And then the sharks came. And then his ship started to
sail off without him. And then there was that loose military ordinance shell
rolling around below decks while on the way to Cam Ranh Bay, one of the largest
U.S. bases in Vietnam. Following an episode right out <i>Apocalypse Now</i>, it’s a wonder McCarey didn’t hand in his papers for
a nice safe janitorial position in a school somewhere.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrrO38JVWqzMwmrFH5X5BYLy-w9FQYpLQjQRhq7CPp6cwfqALBcEskVzou3x6GdmBMY_o6KBiLeL3qyU9F_CP138QL7dKVzgKVNRrt1VmyeYTjPwhFyH05ci45qjgi8al2aBG9EjHQwNw/s1600/mccarey.jpg"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrrO38JVWqzMwmrFH5X5BYLy-w9FQYpLQjQRhq7CPp6cwfqALBcEskVzou3x6GdmBMY_o6KBiLeL3qyU9F_CP138QL7dKVzgKVNRrt1VmyeYTjPwhFyH05ci45qjgi8al2aBG9EjHQwNw/s1600/mccarey.jpg" width="400" /></a></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Fortunately, McCarey had the sea legs and stuck with it. Most
of the freighters he sailed on were virtual slums, but another love was rising
to the surface: a love for the ocean. He started opening to its mysteries, giving
birth to another dream, one like a distant island in the mist at dawn. There
wasn’t only life on board ships, there was also life in the seas, endless life.
Eventually that life would become his vocation, a most essential one in our
times.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Oceans Apart </i>is a spirited
read, a must for travel and adventure readers, a colorful, pungent, funny and
exciting story, at times as hair-raising as a Category 5 hurricane.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">And it’s all beautifully written, literate and endlessly
enjoyable, its prose shimmering like blue sky, full of salt air and ocean spray.
It’s an armchair journey worth your ticket and time.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Copyright 2017 by
Thomas Burchfield</b></span></span></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Photo by author</b></span></span></div>
<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up novel, will appear this March 2017. His
contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a> won the IPPY, NIEA, and Halloween Book Festival
awards for horror in 2012. He’s also author of the original screenplays <i>Whackers,
The Uglies, </i><i>Now Speaks the Devil </i>and
<i>Dracula: Endless Night </i>(e-book
editions only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a> </i>and <i>The
Strand </i>and he recently published a two-part look at the life and career of the
great film villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California
with his wife, Elizabeth.</b></span></span><br />
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Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0tag:blogger.com,1999:blog-543569223349021253.post-16195717554750929632017-01-17T12:47:00.000-08:002017-01-20T19:38:39.523-08:00Eye on Movies: Noir City 15: Ten-Day Crime Spree<!--[if gte mso 9]><xml>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Alright, I’ll talk! Stop!
Don’t hit me no more! I’ll tell ya everythin’ I know. Get that light outta my
eyes, will ya? I can’t think! </i></span></span></b></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<br /></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>It was Eddie and his
gang. The Film Noir Foundation. Yeah, you coppers know th<span style="font-family: "arial" , "helvetica" , sans-serif;">em </span>heisters. Chumps like
me are scrapin’ the gutter for peanuts, while Eddie and his FNF gang are
breakin’ into film vaults all over the world and makin’ off with the crown
jewels of sixty years of crime flicks. He’s made crime pay alright damn him
while I’m stuck in the middle of Oaktown watchin’ reruns of Midway on AMC!</i></span></span></b></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<br /></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Yeah, yeah, I’ll tell
ya where. Put my arm back in my socket first, will ya? And take that thumb
outta my eye! </i></span></span></b></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<br /></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Eddie and his pals are
showin’ off the goods at the fifteenth annual <a href="http://www.noircity.com/">Film Noir Foundation’s Noir CityFilm Festival, held at San Francisco’s legendary Castro Theater and hosted byEddie. The fest is runnin’ from Friday January 20 thru January 29.</a></i></span></span></b></div>
<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></b><br />
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<br /></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>What’re the movies
about!? What the hell d’ya think they’re about, flatfoot? Heists! Big heists!
Big steals that wind up screwin’ the pooch . . . jus’ like they’re always goin’
wrong with me. Well, how the hell was I s’posed to know them rocks belonged to
the Kardashians!?</i></span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>No, I don’t know all
the jewels, but I seen a whole bunch of ‘em, some of ‘em a long time ago. Yeah,
they’re beautiful all right . . . lemme tell ya . . . .</i></span></span></b></div>
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">***********************************************************************</span></span></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The <span style="font-family: "arial" , "helvetica" , sans-serif;">first gem from the vault is </span>the <span style="font-family: "arial" , "helvetica" , sans-serif;">Robert Si<span style="font-family: "arial" , "helvetica" , sans-serif;">odmak</span></span>-directed <i>Criss Cross</i> from 1947,
starring Burt Lancaster and Ava Gardner, both ashine with resplendent youth. Like
many a noir, it’s about the things a guy will do for love. Lancaster is the
love-befuddled sap to Gardner’s femme fatale, who’s attached to that perfectly
slimy piece of toast Dan Duryea. You may find the ending a little weak as I
did, but the build-up is terrific.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Better yet, the festival tops off its opening night with
what some call the <span style="font-family: "arial" , "helvetica" , sans-serif;">crown jewel</span> of all heist films, <i>The
Asphalt Jungle</i> (1951). From a W.R. Burnett novel, it’s true to its title as
there’s not a whiff of nature to be seen anywhere until the unexpectedly moving
ending in another of director John Huston’s many masterworks. I also like how
it portrays the human violence unfolds in real life—randomly, stupidly.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The first Saturday matinee brings a little treat for fans of
the character actors of the 1950s and 1960s in <i>Kansas City Confidential</i> (1953). Directed by Phil Karlson, it’s the
story of a poor mug (John Payne) framed by criminal mastermind Preston Foster
for a robbery he didn’t commit. Once out of the can, Payne tracks Foster down
to a Mexican resort to get his justice. </span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The film’s best fun comes from the casting and performances
by Foster’s gang of hapless miscreant<span style="font-family: "arial" , "helvetica" , sans-serif;"> mugs in the background</span>: growling block-headed Neville Brand, sweaty,
wall-eyed Jack Elam and, best of all to some, Lee Van Cleef, dispensing a bit
with his great reptilian sneer to cheerfully play a self-styled Valentino named
Tony Romano with humor, charm and skill. (You can read more about <a href="http://tbdeluxe.blogspot.com/search?q=Lee+Van+Cleef">Van Cleef’s work in this film here</a> and in my recent two-part profile of the actor in <i>Filmfax</i> magazine.) No doubt about it,
it’s Bad Guy Heaven. Be seeing you there!</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Winding up that Saturday afternoon is <i>Violent Saturday</i>, an offbeat thriller from 1955 about a gang of
bank robbers (Lee Marvin, anot<span style="font-family: "arial" , "helvetica" , sans-serif;">her angel from <span style="font-family: "arial" , "helvetica" , sans-serif;">B</span>ad Guy Heaven, </span>of course; Stephen McNally; and J. Carroll Naish) attempting
to rob a small-town bank while trying to avoid entanglements with its troubled
residents—sort of <i>Peyton Place </i>meets
Richard Stark. Directed by a master craftsman, Richard Fleischer (<i>The Narrow Margin</i>) the film’s violence
is quite <span style="font-family: "arial" , "helvetica" , sans-serif;">brutal</span> for its era. And Ernest Borgnine as an Amish farmer seems some
sort of <span style="font-family: "arial" , "helvetica" , sans-serif;">peak </span>in oddball casting.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">While some pick <i>The
Asphalt Jungle</i> as the best heist film ever, others will nominate Jules
Dassin’s <i>Rififi</i> (1955) in that eternal
debate. Dassin directed this after his exile from the United States during the
Red Scare. French filmmaking benefitted thanks to the bringing of American
skill and sensibilities to their genre movies. The heist sequence is the most
exquisite ever as it unfolds without a word of dialogue, a perfect example of
what Hitchcock called “pure cinema.” This or <i>The Asphalt Jungle</i>? It’s enough to split a guy’s heart in two.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The following Monday, January 23<sup>rd</sup>, brings <i>The Killing</i>, directed by a young Stanley
Kubrick, from a script he cowrote with Jim Thompson (<i>The Grifters</i>). In addition to the terrific cast (Sterling Hayden,
Marie Windsor, Elisha Cook, Jr., Timothy Carey, Vince Edwards et al), you can
also get an early look at Kubrick’s unique sense of space in widescreen format.
Bay Area horse racing fans will also enjoy the scenes of long-gone Bay Meadows
racetrack.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tuesday night, the 24<sup>th</sup>, brings one of the best
comedies in any genre <i>The Ladykillers</i>.
(1955, which seems to be a <span style="font-family: "arial" , "helvetica" , sans-serif;">peak</span> year for the heist genre) Produced by
Ealing Studios and directed by Alexander Mackendrick (<i>A Fish Called Wanda</i>), it concerns a band of thieves who rent a
hideout in which to plan their next heist. Unfortunately, they fail to account
for their exquisitely caring and very nosy landlady. There’s Alec Guinness (with
the greatest set of bad teeth ever), Peter Sellers and the underrated Herbert
Lom. But all of them crumble before the adorable force of nature that is Katie
Johnson. You owe yourself this one.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I haven’t seen <i>The
Sicilian Clan</i> (1969) in years and due to the late hour of the screening (late
Wednesday, the 25<sup>th</sup>), I’ll be missing it again. It’s a very good
example of the crime thrillers Europeans started turning to as the spaghetti
western craze played out its freaky string. This one features Alain Delon, Lino
Ventura, and Jean Gabin and was directed by the Turkish-born Henri Verneuil,
the director of another nifty Euro-thriller called <i>The Burglars</i>. At their best, these films are as sharp and
entertaining as any B-crime picture from the 1940s and 1950s. And there’s Ennio
Morricone’s score, one of the best of his huge catalogue. I may not have seen
this one in a long time, but I know its music by heart (and good luck at finding
the soundtrack).</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">For crowd-pleaser of the festival, I nominate 1974’s <i>The Taking of Pelham 123</i>, one of the
best New York thrillers ever, filmed against the gloriously scuzzy backdrop of
1970s Gotham. It features hangdog Walter Matthau, <span style="font-family: "arial" , "helvetica" , sans-serif;">chilly</span>-eyed Robert Shaw, Jerry
Stiller and a winsome Martin Balsam in a tale of a violent subway hijacking that
comes down with a URI. It’s a perfect blend of laughs and thrills and is pure
New York down to its bawdy bones. But hey . . . what d’ya want for twenty-five
cents!? Take my word for it: see this with an audience!</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Matthau returns yet again on the last Saturday matinee in <i>Charley Varrick</i> (1973), directed by
genre legend Don Siegel (<i>Dirty Harry</i>,
still a good movie even if you don’t like its politics). It’s a good two-fisted
thriller: Matthau’s knockover of a small-town bank lands him in even deeper
waters after he finds the bank was owned by the Mob. Good tough stuff as only
directors like Siegel could pull off--the kind Hollywood studios <i>cannot</i> make anymore, even if they wanted
to.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Immediately following <i>Charley
Varrick</i>, comes <i>Thunderbolt and
Lightfoot</i>, an offbeat tale of two crooks (Clint Eastwood and Jeff Bridges)
and their lives on the lam. It's another I haven'<span style="font-family: "arial" , "helvetica" , sans-serif;">t seen in years, but it plays well in the memory. </span>It’s one of the films credited with raising
Eastwood’s profile among serious filmgoers, as well as Jeff Bridges' profile, who’s also
terrific here. The film was directed by Michael Cimino, whose subsequent work (<i>The Deer Hunter</i> and <i>Heaven’s Gate</i>) seems to provide weight to the adage that success
can ruin a man.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">If you’ve ever wondered about the secret face of Mahatma
Ghandi, you may get a real clue with <i>Sexy
Beast </i>(2000), featuring the film embodiment of Gandhi himself, Ben Kingsley,
the soul of yin and yang. He plays Don Logan, a mob enforcer of rabid ferocity
who barks his way into the sunbaked retirement of ex-thief Ray Winstone, dragging,
pushing and shoving him into pulling one more heist. Tense, funny, disturbing,
seedy and stylish to a fault it, it also features Ian McShane as the big boss,
a few years before his triumphant turn as Al Swearengen in <i>Deadwood</i>.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The festival closes with the last film in the distinguished
career of Sidney Lumet, <i>Before the Devil Knows
Your Dead</i>. It plays like a chamber piece, sort of <i>The Asphalt Jungle</i> meets <i>Long
Day’s Journey Into Night</i>, as two brothers (Philip Seymour Hoffman and Ethan
Hawke) concoct a harebrained scheme to rob their parents’ jewelry store. A genuine
air of pathos and tragedy suffuses the film, making it a fine coda to Lumet’s
career. And, of course, any excuse to see the much-missed Mr. Hoffman is a good
one.</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Copyright 2016 by
Thomas Burchfield</span></span></b></div>
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<b><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Thomas Burchfield’s <i>Butchertown, </i>a
ripping, 1920s gangster shoot-‘em-up
novel will appear this Spring 2017. His contemporary Dracula novel <a href="http://www.blogger.com/goog_1438986906" target="_blank">Dragon's Ark</a>
won the IPPY, NIEA, and Halloween Book Festival awards for horror in 2012. He’s
also author of the original screenplays <i>Whackers, The Uglies</i> <i>Now Speaks the Devil, </i>and <i>Dracula: Endless Night </i>(e-book editions
only). Published by <a href="http://amblerhouse.blogspot.com/" target="_blank">Ambler
House Publishing</a>, all are available at <a href="http://www.amazon.com/s/ref=ntt_at_ep_srch?_encoding=UTF8&sort=relevancerank&search-alias=books&field-author=Thomas%20Burchfield">Amazon</a>,
<a href="http://www.barnesandnoble.com/c/thomas-burchfield" target="_blank">Barnes
and Noble, </a> <a href="http://powells.com/" target="_blank">Powell's
Books</a>, <a href="http://www.scribd.com/doc/39017892/Dragon-s-Ark" target="_blank">Scribed</a>, and other retailers. His reviews have appeared in <i><a href="http://brightlightsfilm.com/">Bright
Lights Film Journal</a>, <span style="font-family: "arial" , "helvetica" , sans-serif;">T</span>he Strand </i>magazine and
he recently published a two-part look at the life and career of the great film
villain (and spaghetti western star) Lee Van Cleef in <i>Filmfax</i>. He lives in Northern California with his wife, Elizabeth.</span></span></b>Thomas Burchfieldhttp://www.blogger.com/profile/13554344522458052169noreply@blogger.com0