“Enough Said” — Sweet, Funny, & Sad

Enough Said-poster The title of director/writer Nicole Holofcener’s 2001 feature, Lovely & Amazing, is an apt description of her new film, Enough Said, starring Julia Louis-Dreyfus and James Gandolfini. Holofcener’s films, which include Walking and Talking (1996), Friends with Money (2006), and Please Give (2010), tend to be small-scale and quirky. She’s more interested in the ways people struggle with their lives and relationships than she is in plot. That’s not to say her stories aren’t neatly constructed, but that the emphasis is more on character.

Louis-Dreyfus is Eva, a masseuse living in Los Angeles, divorced ten years, with a daughter about to leave for college. Gandolfini is Albert, who works as an archivist at the Library of Television (a job I’d dearly love to have), also divorced and with a daughter heading off to college. Like Eva, he’s anxious about his daughter leaving the nest. They meet, hit it off, and begin a tentative relationship that has its ups and downs, embarrassments and misunderstandings. If you have to categorize it, Enough Said is a romantic comedy, but one that definitely doesn’t follow the usual rom-com predictability.

This is obviously due to the writing and direction, and especially the actors. Eva is the central character — and Julia Louis-Dreyfus is great in the role — but it’s Gandolfini’s presence and performance that really elevates this film. They both bring the weight of having been in two hugely iconic television series, Seinfeld and The Sopranos. They’ve been largely defined by their roles in those shows. Louis-Dreyfus’ Eva may be similar to characters we’ve seen her play before, but Enough Said takes her to dramatic moments that feel painful and real. The acting she does with her face alone in some scenes is amazing.

Gandolfini’s Albert, on the other hand, is about as far from Tony Soprano as one could get.  He hasn’t had an opportunity to play a role like this before, someone as gentle and empathetic as he is here. Sure, Tony Soprano could show a sensitive side with Carmela and his assorted girlfriends — or the ducks in his swimming pool — but he could just as easily beat a guy to death and chop him up in the bathtub. He has frequently been cast as gangsters or tough guys, though even there he often brought something extra. Check out his scenes with Patricia Arquette in True Romance (1993) and Julia Roberts in The Mexican (2001). And he created a genuinely sad character with just his voice in Where the Wild Things Are (2009). But he’s something else again in Enough Said. It’s a measure of his talent as an actor that he could bring someone like Albert to life, and make us feel that’s who he’s always been.

It’s ironic that Gandolfini had serious doubts he could play this part, and kept telling director Nicole Holofcener that she should recast it. He said Alec Baldwin would do a much better job. With all due respect to Alec Baldwin, who I like a lot, it’s hard to imagine anyone but Gandolfini in this film. Baldwin would have done a good job, but it would have been quite different. Gandolfini opens himself up emotionally in Enough Said in ways I don’t see that often — though Sean Penn in Milk (2008) comes to mind. When Albert says to Eva, “You broke my heart,” he expresses a painful vulnerability that’s quite moving, and a feeling I’m sure many people can identify with. He’s also really funny. We know Julia Louis-Dreyfus can be comic — that’s what she does — but it’s a revelation to see how relaxed and funny Gandolfini is as Albert. While it’s great seeing him in this film, it’s a bittersweet feeling, since he would have given us so much more.

Enough Said-stillGandolfini and Louis-Dreyfus have great chemistry in Enough Said. It feels genuine in a way that’s hard to fake. They seem to really enjoy being in each other’s company. Albert and Eva connect through humor; it’s a key component of their relationship. Of course, always being funny can be a cover for anxieties and insecurities, and that comes out here, especially with Eva. Eva’s new friend and client, Marianne (played by Catherine Keener, who has been in all of Holofcener’s features), turns out to be Albert’s ex-wife. She doesn’t hesitate to unload detailed accounts of Albert’s many failings to Eva. Once Eva realizes this is the same guy she’s dating, she feels conflicted, but can’t help but keep listening. Problems ensue as Eva tries to handle this information without Albert or Marianne finding out about Eva’s involvement with each of them. This is a contrivance, to be sure, and one that was revealed in all the trailers, so it’s not exactly a spoiler. It could have been farcical or forced, but the movie’s too smart for that. I think the way it plays out works, and that’s what counts.

This is a film about relationships. Toni Collette and Ben Falcone are very good as Sarah and Will, Eva’s close friends, whose marriage is spiked with passive aggression — maybe a warning about relationships? A fair amount of time is devoted to Eva’s fears and anxieties about her daughter, Ellen, going off to college on the East Coast. Tracey Fairaway is excellent as Ellen, as is Tavi Gevinson as her best friend, Chloe. These characters seem like real people rather than plot points. The scene where Eva and her ex-husband see Ellen off at the airport is as strong as it gets. The emotion is powerful and authentic. Holofcener gives the scene, and the entire movie, room to breathe. — Ted Hicks

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Extras —

Manohla Dargis’ sharp appraisal of James Gandolfini’s feature film career from The New York Times.

Interview with Julia Louis-Dreyfus on Enough Said, playing a masseuse, and working with James Gandolfini.

A clip of Nicole Holofcener talking about Enough Said:

Though it’s been referred to as Gandolfini’s final film, he has one more scheduled for release in 2014, Animal Rescue, a crime drama.

We saw Enough Said at an advance screening at the Museum of the Moving Image here in New York a few days before it opened. Afterward, there was a terrific Q&A with Julia Louis-Dreyfus, Nicole Holofcener, and producer Anthony Bregman, moderated by Chief Curator David Schwartz. Q&A sessions always add a lot to the experience, and this was no exception.

David Schwartz, Julia Louis-Dreyfuss, Nicole Holofcener, Anthony Bregman

David Schwartz, Julia Louis-Dreyfus, Nicole Holofcener, Anthony Bregman

Posted in Film, Home Video, TV | 2 Comments

My “Butler” Problem

Butler-poster2Lee Daniels’ The  Butler – Sunday, August 18 at AMC Loews Lincoln Square. Director: Lee Daniels. Writer: Danny Strong. I had something quite different in mind when I first thought of writing about this film. Though I recognized that the film had strong performances from the leads, and was well made in a straightforward, traditional style that was effective, my initial reaction was much more negative than positive. The story of Cecil Gaines, who served as a White House butler during four turbulent decades, is a strong one. But the fact that Cecil is a largely fictional character was very problematic for me.

This feeling was only reinforced when I read this excerpt from Lee Daniels’ foreward to The Butler: A Witness to History by Wil Haygood, published as a companion to the film: “While the movie The Butler is set against historical events, the title character and his family are fictionalized, we were able to borrow some extraordinary moments from Eugene’s real life to weave into the movie.”

The film states in the credits that it is “inspired by a true story,” which gives filmmakers a lot of leeway. Screenwriter Danny Strong’s inspiration came from a short article by Wil Haygood, “A Butler Well Served by This Election,” which appeared in The Washington Post in November of 2008. The piece sketches the story of Eugene Allen, a black man who served as a White House butler during eight administrations for over three decades (1952-1986). This is a powerful, timely premise for a movie, and it’s easy to see why it would appeal to Hollywood.

The Butler does not present itself as fact, but I think it may have been initially perceived that way. At least, after first hearing about the film and seeing the early trailers, I assumed the butler’s story was more factual than it turned out to be. I was surprised and troubled when I learned that most of the details of Cecil Gaines’ life were fiction. It seemed the filmmakers felt that they had to make more of a movie out of the story; that they had to pump it up with drama. It wasn’t enough that The Butler‘s Cecil was a witness to all this history, he had to have a personal connection, via his activist son Louis, to events during the formative years of the Civil Rights movement, as well as Vietnam and Black Power.

(If you haven’t seen the film, there are some spoilers from this point on.)

I think what bothered me the most was what was fabricated for Cecil’s background and his family. Eugene Allen did grow up on a plantation (in Virginia, not Georgia), but by all accounts, his mother was neither raped by the plantation owner nor his father shot dead in front of him, as Cecil experiences in the film. Eugene’s wife Helene was not an alcoholic, nor was she sexually involved with a sleazy neighbor (played by Terrence Howard), as is Cecil’s wife, called Gloria in the film. In The Butler, Cecil and Gloria have two sons: a younger son Charles who is killed in Vietnam, and Louis, who becomes actively involved in Civil Rights, evolving from being arrested as a Freedom Rider in the South to becoming militant as a Black Panther. Cecil’s struggles with Louis’ actions are the main source of conflict in the film. Eugene and Helene Allen had only one son, also named Charles. He did go to Vietnam, but survived. It should be noted that the real-life Charles, who works as an investigator in the State Department, has endorsed the film. ____________________________________________________________________

It was only when I read an interview Jay A. Fernandez conducted with screenwriter Danny Strong that I began to see The Butler in a different light. In the interview Strong says:

“It’s important to understand, there’s a reason why the character’s name is Cecil Gaines. Because this is not the Eugene Allen story. It’s not just about him. We were hoping to capture the essence of Eugene Allen, and I think we did. But it’s not just about him. It’s about several other people I spoke to that worked at the White House as well so that the film would create this universal truth for many people of what that experience was like.”

When asked how the narrative came together, he says:

“There were two big breakthroughs. It was a story that took place over many administrations. As soon as I realized that this was going to be a story about the Civil Rights movement, and that was going to be the spine of the film, that was the first breakthrough. In all these administrations, there will be a common theme going on as we travel through the eras. And then the second breakthrough was [creating] a son who was a Civil Rights activist so that we could actually be in the center of the action while those events were happening. That created this really great triangle of the butler trying to get his son out of the Civil Rights movement and the presidents dealing with the crises that his son is in the middle of as the butler is serving those presidents. It made the story emotional even when the butler wasn’t speaking in the White House, and it created what I thought would be a very interesting generational story between father and son. It keeps everything personal and emotional as opposed to a history lesson.”

I found this reasoning to be persuasive; it changed the way I saw The Butler. I finally realized that, duh, this is a movie, and the goal is to find the most effective way to tell the story. To that end, I think they did a good job, even though the way the narrative is constructed to highlight the basic outline of the Civil Rights movement is a bit didactic and schematic at times. A definite plus is that The Butler is very strong in its casting and THE BUTLERperformances. Forest Whitaker and Oprah Winfrey are quite extraordinary as Cecil and Gloria Gaines. This is Oprah’s first major role in a feature film since Beloved in 1998, and she’s terrific. It doesn’t take long to forget that she’s Oprah. David Oyelowo is very strong as Louis Gaines. He’s an excellent actor, and was especially good in last year’s grossly underseen Middle of Nowhere. Cuba Gooding Jr. and Lenny Kravitz are stand-outs as Cecil’s co-workers in the White House kitchen. The roles of the various presidents Cecil served under are more like a parade of cameos, some more successful than others. Robin Williams barely registers in his brief time on screen as Eisenhower, while John Cusack seems weird and off the mark as Nixon (though maybe that’s appropriate). Alan Rickman probably fares the best as Ronald Reagan, with Jane Fonda good as Nancy in a few short scenes.

It’s hard not to be stirred by Lee Daniels’ The Butler (to give it its full, unwieldy title), even as you know you’re being manipulated. President Obama says he “teared up” when he saw it. There’s been a firestorm of debate about the film, mainly focused the issue of accuracy. But audiences don’t seem to care about that; they made The Butler number one at the box-office for three consecutive weeks, which almost never happens. The Butler may not have as much to say about race in America as did Brian Hegeland’s Jackie Robinson film 42 (2013) or Quentin Tarantino’s Django Unchained (2012), for example, but I think it does what it sets out to do, and it does it pretty well. The final scenes of Cecil Gaines are very moving, whether they actually happened or not. — Ted Hicks

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End Notes:

It was a bit of a disconnect for me to realize that screenwriter Danny Strong played a recurring character, the dweebish Jonathan Levinson, in 29 episodes of one of my favorite TV series, Josh Whedon’s Buffy the Vampire Slayer. Strong went on write two very good HBO movies, Recount (2008) and Game Change (2010). He’s on a roll with The Butler, and is already writing the next two films in the blockbuster Hunger Games series, Mockingjay Part 1 & 2 (2014 & 2015).

The controversy over the title was caused by Warner Bros. claiming that if the new film was called The Butler, it would somehow infringe on an obscure 1916 short film of theirs which has the same title. Unaccountably, the MPAA agreed with Warners and made The Weinstein Company add Lee Daniels’ name to the title. This is especially absurd since motion picture titles have been repeated at least 122 times so far, probably more. For example, there have been films called Heat in 1986, 1994, and forthcoming in 2014. No one seems too upset about that. It makes you wonder what Warners’ real agenda was.

Finally, there’s a theater owner in Kentucky — a former Korean War vet who later trained pilots to fly in Vietnam — who refuses to show The Butler because Jane Fonda is in it. He makes a point of not showing any films with “Hanoi Jane” in them, because of her anti-war activities, which included a trip to North Vietnam during the war. This is America, it’s his theater and he can do what he wants, but — seriously?

Posted in Film, Home Video, TV | 2 Comments

Friction Fiction #4 — “Shucks & Puffer Come to Town”

Welcome gas station sign

by Ted Hicks

Drive three miles east of Highway 71 on county road 14 and you’ll come to Arcadia (pop. 187), which lies roughly in the southeast corner of northwest Iowa, in the midst of rich farmland that’s slightly rolling but mostly flat. As you approach the town there’s a school on the left, a solid three-story building made of fading red brick set back from the road on a slight rise above the half-moon driveway. The top of the grandstand that anchors the ball field behind the school is just visible.

After the stop sign at the intersection just past the school there’s Wally Beever’s double-pump gas station. Right now Wally’s wearing his usual uniform of baggy bib coveralls over a greasy black tee shirt, sitting on a straight-backed wooden chair outside under the awning that covers the pumps, drinking a beer on a hot September morning and waiting for Kenny to come back out.

Standard gas stationInside the station Kenny pulls a bottle of Coca Cola from the icy water in the battered pop cooler. He opens it and takes a swig, looking at the calender above the cooler, beneath the shelves of motor oil. It’s been there five years at least, the edges curling up on the picture of Marilyn Monroe naked against a red background. Kenny sighs, steps outside and squints.

“Christ almighty,” he says, “this is just as bad as August.”

“Yeah, you’ll be bitching when it’s winter,” Wally says as he nudges a rock with his boot, then leans forward to pick it up.

Kenny grunts and moves to sit in the empty chair on the other side of Wally. He sits a minute, then says, “The kids sound pretty good today.”

It’s only nine o’clock, but already the marching band from the school is practicing in the streets. The drum beat and the faltering sound of the school fight song is several blocks away. The town is quiet except for the music from the band and the sounds of insects.  Occasionally you can hear a screen door slam.

“Yeah, well,” says Wally, studying the rock in his hand,  “it’d be nice if we won some games this year.”

A car stopped at the intersection revs its engine and squeals around the corner, rocketing past the station. A piece of gravel thrown by the car ricochets off one of Wally’s gas pumps.

“I don’t much like that,” says Wally evenly.

The thick dust slowly settles. In the morning sunlight it looks to Kenny like someone has been shaking rugs out.

Kenny leans forward and looks down the road after the receding car. “Who was that?  That Cooney kid?  Where’s he going?”

Wally gives his rock one last look, then tosses it away between the pumps. “Naw, it wasn’t him.”

Kenny jerks his head around. He knows Jim Cooney’s car if anybody does. “Oh yeah?” he says. “Who was it then? Looked like Cooney.”

“Maybe it was one of those Hollywood hotshots,” Wally says with a bitter laugh.

Kenny’s forehead wrinkles slightly as he ponders this. “Huh.  I heard they were coming back. Do you think it’s them?”

Wally feels himself working up some steam. He looks to his left toward the large white sign displayed beside the street that branches off the blacktop and into town. “Arcadia – A Mighty Small Town” is painted in red script above an outline of the state with a dynamic arrow pointing to a star approximating the location of Arcadia itself.  On a newer sign board nailed to the old one is written in a more modern graphic style, “Home of TV’s SHUCKS & PUFFER!”

“Shucks and Puffer my ass!” Wally says under his breath, shaking his head.

“Come on, Wally,” Kenny says, “who’d ever thought somebody’d do a TV series here?  Don’t you think it’s great?”

“What’s so great about it?” Wally says as he tosses his empty beer bottle into the fifty-gallon trash drum by the pumps. “They come here just to shoot the outside stuff, tramp on everybody’s yards and act like they own the place.  What’s so great about it? Besides, I bet they ain’t coming back anyway. Be cheaper just to build a town out there.”

Kenny enjoys seeing Wally get worked up. It reminds him of Dave Boyer’s pickup truck boiling over. “Come on, what about that thing on Entertainment Tonight? What about those tee shirts they’re selling down at the cafe?”

Wally makes a fist of his right hand and slams it into the palm of his left. “That’s exactly what I’m talking about. Entertainment Tonight!  How come the Hobbs were on that?  And that loony kid of theirs? Standing like idiots in front of their store. You’d think there wasn’t anybody else living in this town!”

Kenny laughs. “I guess you’d feel different if folks across the country had seen Beever’s D-X on TV, huh?”

Wally is really angry now. “Boy, Kenny, you’re completely screwed up, you know that?  Everybody in this town thinks they’re gonna be a celebrity now. All because of some stupid show about a kid and his genius pig saving people week after week. An 800-pound pig that opens doors and rescues babies!”

You have to go three blocks away from Wally’s station to find Hobbs’ Groceries on a corner of Main Street, the only grocery store in Arcadia. There’s only one of anything here, and not many of those, though the residents are hoping the television series will somehow rejuvenate the town.

Sweating in the hot morning sun, Sonny Hobbs, thirty years old, mentally impaired and wearing a Shucks & Puffer tee shirt, stands in front of his parent’s store and slowly sweeps the sidewalk. The high school marching band rounds the corner and heads down Main Street. Sonny stops sweeping and slowly waves at the majorette, Debbie Jensen in her short skirt, as the band goes by. Sonny thinks of TV shows and Debbie’s knees.

Shucks

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Civil Rights Roundtable — a Time Capsule from 1963

March on Washington button

August 28th marked the 50th anniversary of what was originally called the March on Washington for Jobs and Freedom. In the years since then, the name has lost “Jobs and Freedom,” and most people, myself included, have always thought of it simply as the March on Washington. I wasn’t aware of the full name until I found this image of a button online.

The event was a watershed moment in the history of the Civil Rights movement in the United States, but I knew little about it other than the Rev. Martin Luther King, Jr.’s seminal “I have a dream” speech, which became emblematic of the entire struggle, and still has the power to inspire.

The civil rights leader Martin Luther KI

It was a revelation when I saw the “Civil Rights Roundtable,” a 30-minute television program broadcast from a CBS studio in Washington, DC later in that day on August 28th. It turns out this video has been widely available online via YouTube at numerous sites, but I only recently became aware of it.

What gets me is the immediacy of the discussion; it’s happening in the moment rather than looking back, and therefore more alive. I had a similar experience some years ago when I read The Frontier World of Doc Holliday, a biography by Pat Jahns that contains newspaper articles written at the time. I was struck by how much more vibrant and real this felt than more traditional historical accounts.

The roundtable is moderated by David Schoenbrun, a veteran newsman who had worked with Edward R. Murrow at CBS. The panelists include Harry Belafonte, Charlton Heston, Sidney Poitier, film director and screenwriter Joseph L. Mankiewicz, Marlon Brando, and author James Baldwin, all of whom had come to Washington specifically for the march. Those who find Charlton Heston’s presence here curious because of his staunchly pro-gun position  (he was a five-term president of the NRA from 1998 to 2003) and conservative politics might be surprised to learn of his prior political activism as a Democrat, supporting liberal candidates and causes, and a strong supporter of Civil Rights. Heston and the other panelists, especially Harry Belafonte and James Baldwin, come off as very smart, extremely articulate,  and passionate in their beliefs.

Heston+Belafonte+Baldwin+BrandoHeston+Poitier+Belafonte

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I’ve watched the video several times, and moments that stand out include the following:

Marlon Brando saying the March on Washington is “one step closer to understanding the human heart.”

Joseph L. Mankiewicz saying he’s concerned with “human rights” rather than “civil rights.”

Sidney Poitier referring to the “Negro question” rather than the “Negro problem.”

Charlton Heston saying that even though he had picketed restaurants in Oklahoma two years before, he’d mainly expressed his support of Civil Rights by talking about it at cocktail parties. But earlier that summer (1963), he realized he could “no longer pay lip service to a cause that is so urgently right and in a time that is so urgently now.”

Mankiewicz saying “True freedom is not given by governments. Freedom is taken by the people.”

Heston, speaking of the March, “…the end is not yet, but perhaps this is a beginning,” and that “the importance and difficulty of the times ahead cannot be over-emphasized.” He goes on to quote from memory a passage written by Thomas Paine during the early months of the American Revolution: “These are the times that try men’s souls. The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country; but he that stands it now, deserves the love and thanks of man and woman.”

Much of this discussion seems so timely and relevant to our times. The effect of what is said is both chilling and exhilarating, none more so than this stunning closing statement from James Baldwin: “The nature of the problem is so complex that one can’t simply say ‘jobs’ or ‘schools’ or ‘houses.’ It’s a whole complex of things. Jobs alone won’t solve it; schools alone won’t solve it. It’s in the social fabric. It isn’t anything, it’s everything. The first step has to be somewhere in the American conscience. The American white republic has to ask itself why it was necessary for them to invent the nigger. I am not a nigger. I have never called myself one. The world decides that you are this…for its own reasons. It is very important for the American that he face this question… that he needed the nigger for something.”

I don’t think this question has ever been answered, but it’s inspiring to watch this program — a moment in history — and see people trying to grapple seriously with issues that are still with us today. See for yourself.   – Ted Hicks

Posted in Books, Film, Home Video, TV | 3 Comments

Breaking Bad — “The Perfect Batch” Panels

To end their week of Breaking Bad events, the Film Society of Lincoln Center hosted “The Perfect Batch: Breaking Bad Cast Favorites” at the Walter Reade Theater on Thursday, August 1, and Friday, August 2. There were two programs each night, with cast members selecting two episodes to be shown at each, followed by discussions on stage. I was unable to get tickets to these screenings, which sold out within minutes of going on sale. So far I haven’t been able to find out which episodes were shown, but the Q&A sessions with cast members are now online. These weren’t available in time to include in my previous Breaking Bad post last week, but I wanted to add them here. – Ted Hicks

Note: If you haven’t seen the first five seasons yet, these discussions contain spoilers.

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Friction Fiction #3 — “The Return of Doktor Flesh”

Parental Advisory2I don’t want to offend anyone’s sensibilities, so please be aware that this story would probably get an R-rating if it were a movie. If that’s not a problem, then here you go!

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THE RETURN OF DOKTOR FLESH

by Ted Hicks

Doktor FleshDavid Chandler, Jr. sat alone in his living room, watching the snow drift down outside, large flakes illuminated by the streetlights and reflected in the headlights of vehicles slowly moving up and down the unplowed street. He was still badly hungover from the night before. A pain throbbed and pressed behind his eyes. Another beer might help.

He rose and walked slowly to the kitchen where he took a can of Bud from the refrigerator. A movement caught his eye and he stopped dead. A cockroach was crawling up the side of the sink. Keeping his eyes on the roach, Chandler very slowly reached for a paper towel. He smashed the roach in one swift, decisive movement, looking quickly to see that he had in fact gotten the little bastard, then crumpled it  tightly in the paper towel.

He returned to the living room and sat at his writing desk, the unopened beer in one hand and the wadded paper towel in the other. Chandler wanted the beer, but he had to get rid of the roach first. He squeezed the paper ball as hard as he could. He believed you couldn’t kill them enough. No matter how crushed, they might return to life, so he always flushed them down the toilet. They might live on in some maimed, crippled fashion in the sewers, but he didn’t have to see them.

He turned from the window and the falling snow. He looked past the kitchen and down the hall. Light from the bathroom cut into the hallway. Chandler knew he’d have to go there sooner or later, and not just to flush the cockroach. For that matter he could open the window and throw the roach out into the snow and it would be just as gone from his life.

Reluctantly Chandler began to rise, then sat back down. Earlier that evening there’d been an argument, then something happened, an accident, and now his mother lay dead on the bathroom floor. They’d been arguing, as always, over Doktor Flesh.

****

            His mother is peering intently into his bathroom mirror. She has her eyes and nose squinched up in a way that drives Chandler crazy. She is doing something to her eyebrows. “You could use better light in here,” she says.

He stands in the doorway watching her. She stops and turns to face him. She has removed her blouse. She is wearing a bra with openings that expose her large nipples.

“Listen, Junior,” she says, “you can stand there all night, but I’m not giving you the rights. I’ll never give you the rights, I’ll never sell you the rights. How many times do I have to tell you?” She turns back to her work in the mirror.

“But why?” he asks, trying not to beg. “Why not? What would be so terrible?”

She turns again and gestures with a silver tweezer that makes him think of a weapon. “Look,” she says more sharply, “try to understand this. You’re not going to turn your father’s work into a bunch of comic books. You’re not a good enough writer to begin with, even if they’d let you write them, which they probably wouldn’t. But it’s not happening.”

But this is my big chance! he wants to say, but doesn’t. He knows she’ll say that at forty-four it’s a bit pathetic to see writing comic books as his last chance to be somebody. She’ll tell him once again that none of his writing has ever been successful, not even in those workshops he keeps taking, and that maybe he should just grow up and try to be the best data-entry clerk he can be. She’ll tell him that the late, great David Chandler, Sr. is the one and only writer in the family.

****

Chandler stared at the rows of worn paperbacks on the shelves above his desk. The joke was that his mother talked as though his father had been some sort of fucking William Faulkner. In the late Forties and Fifties, David Chandler, Sr. had written forty-seven paperback originals, each featuring Doktor Heinrich Flesh, an evil, bloated genius, a bloody monster whose fiendish exploits became as popular as those of Sax Rohmer’s Fu Manchu.

Chandler took one of the books from the shelf and looked at its cover. It was typical of the series, a lurid scene rendered in garish colors turned slightly muddy by the printing process. Doktor Flesh, dressed in black, eyes hidden by small, round  glasses, the mirrored lenses shining in the light, stands leering over a half-naked woman with long blonde hair who is bound tightly with wide, studded straps. Doktor Flesh is pulling on a leash attached to a metal collar around the woman’s neck. At his side is his mistress in black leather, Lydia Chelm, caressing an elaborate torture device. In the background, chained to the wall beneath a burning torch, Inspector Nigel Baskett of Interpol looks on in abject horror.

Chandler knew this was crap, but the books had a trashy appeal that was undeniable. They were periodically re-issued, and currently were back in vogue.

On the desk was the latest letter from Martin Bobb at Necro Comics. They were impatient to clear the rights to use the characters. When that was done there’d be a contract for Chandler to sign. They understood that he wanted to write the stories himself, and they’d give him a shot at that, but they’d pay him just to use his name. It was a hook – the new adventures of David Chandler, Sr.’s famous characters, written by David Chandler, Jr.

Jesus. For this his mother was dead in the bathroom. What a fuckup. He put the paper towel containing the roach into the waste basket by the desk. So what. It was only a roach. Maybe he didn’t have the right to kill it anyway. One of God’s creatures and all that. He snapped the tab off the can of Bud and began to drink.

The hell with it. Chandler stood and walked straight toward the bathroom. Then his resolve faltered. He hesitated several steps from the doorway. He felt a coldness spreading in his chest. Chandler stepped slowly forward and looked around the door frame.

His mother was still on the tile floor by the toilet. Where else would she be? Her head was propped at an awkward angle against the tub. A thin line of dried blood ran from her nose. There was blood on her bra. Her eyes were open. Chandler let out his breath. He felt unsteady for a moment, then straightened up. Time to man up, he thought.

He went to the bedroom and got his jacket from the closet. He was on his way out the front door when he stopped and went back to his desk. He fished the wadded paper towel from the waste basket and opened it. The cockroach was still inside, one of its legs moving feebly, or was it? He returned to the bathroom, leaned over his mother, and flushed the roach down the toilet.

Chandler went downstairs to the bodega on the corner where he bought four large bags of ice. The man behind the counter said, “Hey, Mr. Chandler.  It’s snowing!  What you want ice for?”

Chandler said nothing and waited for his change.

“Maybe you’re having a party? Girls, huh?”  The man laughed, making a fist and pumping his forearm slowly back and forth.

Yeah, right, Chandler thought. Asshole.

“My refrigerator’s on the blink,” he finally said. He took his change and left.

Back in the bathroom he emptied two of the bags into the tub. He turned to his mother. He felt funny about picking her up without her blouse on. He looked around and found it hanging on a hook behind the door. After a couple minutes of trying to get his mother’s arms into the blouse and avoid her glassy eyes, he gave up and put it back on the hook. Those guys in funeral homes knew how to do this. Must be some trick to it. They weren’t kidding about dead weight.

With a clumsy effort he put his mother in the tub. Thank god she wasn’t stiff yet. He emptied the remaining ice over her. Chandler sat on the edge of the tub and packed the ice around her as carefully as he could. He remained sitting there, drumming his fingers on the side of the tub, and turned to look out the open bathroom door. Now what? He needed to think about this.

Chandler went to the kitchen and got another beer. In the living room he sat at his desk looking out the window into the night. It was still snowing. A snowplow was making its way slowly down the street. He saw his own reflection superimposed on the window, looking back at him like some fucking ghost. Maybe he shouldn’t get too hammered. There was too much to do. Christ, maybe he definitely should get hammered and stay that way.

The beer began to create the frequent need to pee, and for awhile he used the kitchen sink to avoid returning to the bathroom. The next time he said fuck it and strode purposefully into the bathroom.

He tried to focus only on the toilet bowl, but out of the corner of his eye he thought something was different. He turned. His mother’s jaw had dropped and her mouth was gaping open as if in surprise. Still holding himself, the image flashed through Chandler’s mind of pissing into her open mouth. He began to laugh, then stopped short as he saw his mother’s staring eyes. How could he think such a thing? He turned back to the toilet and as he peed, rapped the knuckles of his free hand against the wall above the toilet. Rat-a-tat-tat.  Those eyes. Those eyes. Windows to the soul. Where was her soul? Where was his?

Chandler rushed across the hall to his bedroom and came back with a pair of sunglasses, wrap arounds from his hipster days that he didn’t have the balls to wear anymore. He positioned them on his mother’s face and stood back. Weird effect, but at least he didn’t have to see her eyes.

He left the bathroom and got another beer. He began to take the Doktor Flesh books from the shelves above his desk and carefully arrange them on the living room floor.  When he’d finished he pulled up a chair and stared at the grand design spread out before him. Chandler leaned forward and the nearly full can of beer slipped from his hand. He tried to catch it with his other hand, but it had already hit the floor. Beer began to soak into the row of books closest him. Oh hell, he had to be more careful. These books were original editions. He stood suddenly, and the chair fell over behind him.

****

            David Chandler moaned and twisted in the bed. In his nightmare blood dripped from the knife gripped in his hand onto the naked body of his mother lying at his feet, and he was shouting. He woke with a start and anxiously turned on the light beside the bed. His throat was dry and he was very thirsty. He became aware that the sheets and his naked body were spotted with blood. In his sleep he had given himself many small cuts and nicks with the knife he saw was gripped in his right hand.

As he brought the knife closer to his face, a hand gloved in black leather reached out and took it from him. He looked up and saw Lydia Chelm kneeling by the bed. She turned to smile at him, her eyes dark and piercing, her hair drawn tightly back from her face, stretching the skin on her skull. She threw the knife over her shoulder where it stuck in the floor, then reached forward and cupped his balls in her leather glove, gripped and twisted.  Chandler gasped as she looked at him and brought the index finger of her free hand to her lips and whispered “Shhhhhh.” She smiled sweetly, and opened her mouth. Chandler saw that her teeth were filed to perfect razor points.

She dipped her head to take him in her mouth and bit down hard. Chandler screamed as she twisted her head savagely back and forth. Over the curve of Lydia’s shuddering back he saw Doktor Flesh in the dim light, smiling back at him, his lenses glittering.

***********

Chandler slowly woke lying on his bed, nauseous and disoriented. He suddenly jerked awake, sat upright and reached down to grab at his crotch. The sudden movement caused brutal pressure in his brain. He lay back and let his eyes go out of focus. He realized he’d pissed the bed. There was that familiar smell and wetness. Hadn’t done that for a long time. Fuck it. What the hell. He lay there and tried to think.

Ugly fucking dream, that’s for sure. It occurred to him that maybe everything from the night before was a dream. Just another drunken binge. He had a moment of hope. His mother was still alive and he was still in the dead end of his life. Well, that was better than the way he remembered it.

He struggled out of bed, pulled on his flannel robe and slippers and stepped across the hall to the bathroom doorway. He knew he was fucked before he got there. There was a bad smell, getting worse, something turning sour. She was lying in the tub like he’d left her, gaping jaw, the wrap-around shades, looking like she’d just been thrown from a motorcycle.

As he leaned forward to close her jaw he saw that a mushy substance had partially filled her mouth and run down her chin. What the fuck was that? More blood had run from her nose and had turned black. He took some toilet tissue to wipe her chin clean, then tried to close the jaw. He couldn’t budge it. He poked the flesh of her bare arms and shoulders.  Stiff as a board.

Chandler turned and shuffled down the hall. It had stopped snowing during the night and now the living room was filled with harsh sunlight. He saw the Doktor Flesh paperbacks spread across the floor.  He had forgotten doing that.  The pages of two of them were wet and swollen. He bent and carefully picked them up. Something had spilled on them. Beer. He hoped they weren’t ruined.

In the kitchen he opened the refrigerator door slowly, expecting to be screwed there as well, but there was one beer left, thank god. He went back to the living room and looked at the books still on the floor. He put on a Beatles album. Chandler began picking the books up from the floor. When he’d finished replacing them on the shelves, he sat down at his desk.

What was he going to do? He couldn’t just sit here drinking beer.  That’s what he wanted to do, but there was the smell, for one thing. He didn’t know anything about decomposition. He never thought he’d need to know anything about it, except maybe for some story he might write, but he could just make that up. What about his mother? Doktor Flesh had an acid vat in his cellar for this kind of thing. That guy in that teenage Frankenstein movie had an alligator in a tank. Yeah, well, this was a New York apartment.

Maybe he could get some acid, sulfuric acid. Where would he get it? Could anybody get it, just walk in off the street and say “Give me ten gallons of acid”? She was already in the tub. He could do it right there. But would it fuck up the plumbing? Eat through the tub? Maybe he could cut her up and take the pieces out in small garbage bags like on The Sopranos.

He shook his head. He knew he couldn’t do any of that. He was fucked and he knew it. His mother’s housekeeper would start wondering where she was pretty soon.  Somebody, the cops probably, would come around to check with him pretty soon, someday, any day, whenever. What was he going to do then?

He sat up straight in the chair. Okay, the first thing was to call in sick. He obviously wasn’t going to work today. He laughed. Maybe never. Then get more beer, some food, more ice, maybe some deodorizers, etc etc etc, blah blah blah.

Chandler made the call to his job. He brushed his teeth at the kitchen sink, fuck shaving, later for that, got dressed and went out into the fresh snow and sunlight.

****

            He felt better by the time he returned to his apartment. Braced by the cold of the winter day and the brightness of the snow, loaded down with his supplies, he felt a sense of some accomplishment, some purpose, even some hope. He began putting beer in the refrigerator.

Later, in the bathroom with his mother, he set out the dozen Air-Wick bottles that he’d bought. The final effect was a little heavy, to be sure, but Chandler felt it successfully masked the smell created by whatever bacterial processes were going on in his mother, or at least made it seem like something else. Something else.

Chandler sat down uneasily on the closed toilet seat. He’d become aware of a bowel movement pressing on him, and while he knew it wouldn’t make any difference, not really, he just couldn’t do it here with his mother in the tub beside him. Christ, he’d have to go out again, find some establishment that didn’t restrict its restrooms to customers only, or maybe he’d have to order something just to take a dump.

Grow up, grow up. Be a man about this. Your mother used to change your diapers.  She won’t care. Especially since she’s dead. He raised the seat and dropped his pants. He sat down on the toilet and began to cry.

****

            He was on his knees beside the tub, washing blood from his mother’s face with the almond soap she’d given him when he heard a knock at his apartment door. A rush of adrenalin surged through him. He didn’t move.  He waited. There was another knock, and a voice called out, “David? Are you there?”

Chandler couldn’t believe it. It sounded like his girlfriend, his ex-girlfriend. He knew it was her. He went out to the door and said, “Who is it?”

“David, it’s Annie. Hi!”

He tried to slow his breathing. He didn’t move.

“David?” she said again.

Leaving the chain in place, he opened the door a crack. He saw her heart-shaped face peering in at him. “Hi,” she said, then frowned. “Can’t I come in?  What’s wrong?”

What’s wrong? he thought. He wanted to laugh. Anyway, he hadn’t seen or heard from her in six weeks, and now she was at his door as though nothing had happened.

“This isn’t a good time,” he said. “I’m in kind of a mess here.”

He saw her fidget where she stood. “What are you talking about?  Please let me in.  This is silly. I want to see you.”

Chandler slowly unlatched the chain and opened the door. Fuck it, it wasn’t like this was the first stupid thing he’d done lately. She stepped inside, leaving little tracks of snow.  She was wearing jeans and cowboy boots and a leather bomber jacket with the collar turned up, and held a pair of furry ear muffs in her hand. He saw her nostrils flare.

“My god!  What’s that smell?” she said, looking around the living room.

“I told you I had a problem here. I’m cleaning something up.” He looked at her. She was beautiful as usual. “Listen, I’m surprised to see you. How’d you know I’d be home?”  He paused. “I didn’t hear the buzzer. How’d you get in, anyway?”

“Somebody was coming in, so I just followed. I just took a chance you’d be here.”

“Well,” he said, “it’s nice to see you.” What was he doing? He couldn’t let her stay here. “But believe me, this is a really really bad time. Can we get together later?”

“I guess so,” she said, “but since I’m here I need a favor. I need to use your bathroom, okay?”

“Oh no, no!” he said loudly. “It’s the plumbing. That’s the problem, it’s the plumbing.  You can’t go in there!”

“It’ll just take a second,” she said, giving him that look that told him how stupid and unreasonable he was being. And before he could stop her, she darted around him and went down the hall to the bathroom.

Chandler moaned and sat down at his desk. Man, she’d come up just to use his fucking bathroom. It just went from bad to worse. There was nothing he could do. He leaned forward, held his head in his hands and waited. He heard her shocked cry.

Chandler looked up as she ran from the bathroom and stumbled to a stop across the room from him. This was like some sitcom. Her eyes were wide and her jaw worked up and down until she finally spoke.

“That’s your mother! What happened? What did you do?”

He stood and made what he hoped were calming motions with his hands. “I can explain that, Annie. It wasn’t my fault?”

He took a step toward her and saw her catch her breath. “But what happened?  How long has she been there? She’s swelling up!”

Chandler stopped and pulled his hand across his mouth.

“Have you called the police?” When he didn’t answer, she said more frantically, “David, you’ve got to call the police!”

“I think it’s too late for that, Annie,” he said. He saw the look on her face as he stepped forward.

****

            He knew enough this time to close the eyes and tie the jaw shut with a dish towel so it wouldn’t fall open later. He’d laid Annie on her back on top of his mother in the tub. Need more ice, he thought. He looked at her sadly, then picked up the small hammer he’d used. He was washing off the blood and hair when he heard his apartment buzzer, the one Annie should’ve used.

Chandler laughed shortly, shook his head, and went to the intercom by his front door.  He pressed the button and said, “Who is it?”

“Hey, David. It’s Martin Bobb! I need to see you about the contract. Can I come up?”

David Chandler, Jr. shook his head and took a breath. He balanced the claw hammer in his hand and spoke into the intercom. “Sure!” he said.  “Come on up!”

Doktor Flesh2

Posted in Fiction | 2 Comments

“Born in Chicago” — Black & White Blues

Howlin Wolf2TheSlowDrag-MuddyWaters

************************************************************************************** I recently saw Born in Chicago, a fascinating documentary that lays out how black blues musicians in Chicago during the 1960s, including Howlin’ Wolf (above left), Muddy Waters (above right), Willie Dixon and many others, influenced and mentored hungry young aspiring players, mostly white and Jewish, like Mike Bloomfield, Barry Goldberg, and Elvin Bishop, who went on to bring the blues to a wider, i.e. white, audience.

Chicago Blues Reunion-posterWhat became Born in Chicago was initially intended to be a DVD recording of a concert by the Chicago Blues Reunion, a band which includes Nick Gravenites, Barry Goldberg, Harvey Mandel, and Corky Siegel among its members, all veterans of the 60s Chicago blues scene. The filmmakers eventually realized there was a much larger story to tell, and the film grew from there.

Given its subject matter, Born in Chicago sounded like something I would want to see. When I read “Blacks and Whites Made the Blues,” Larry Rohter’s excellent article about the film in the New York Times the day before the screening, I was convinced of that. An added bonus was the news that record producer Marshall Chess, who narrates and appears in the film, keyboardist Barry Goldberg, and harmonica virtuoso Corky Siegel would be in attendance for a discussion following the screening. Siegel Schwall album cover3I was especially excited that Corky Siegel would be there. I first became aware of him in 1968, when I found an album by a group called the Siegel-Schwall Blues Band in the BX of an Air Force base where I was stationed in northern California. I hadn’t heard of them, but the energy of the blurred cover photograph got my attention. As it turned out, I was expecting something more like Cream or Savoy-Brown, and didn’t have the patience for the more authentic blues of numbers such as “Slow Blues in A” and “That’s Why I Treat My Baby So Fine.” I wasn’t ready then, but I really love them now.

Chess Records Best of albumI had a sketchy sense of the history this film covers, but nothing that put it together the way Born in Chicago does. Marshall Chess, who narrates the film as well as being interviewed on-camera, is a direct link to the Chicago-based record company, Chess Records, which has been called “America’s greatest blues label.” Chess Records was founded in 1950 by Marshall’s father, Leonard Chess, and his uncle, Phil. Its importance, like that of Sun Records, cannot be overestimated. Chess was home to such artists as Howlin’ Wolf, Willie Dixon, Chuck Berry, Muddy Waters, and Etta James, all of whom contributed to the distinctive Chicago blues sound and, along with Elvis Presley, Carl Perkins, Roy Orbison, Jerry Lewis, and Johnny Cash at Sam Phillips’ Sun Records in Memphis, Tennessee, to the growth of rock ‘n’ roll.

A prominent figure in Born in Chicago is guitarist Mike Bloomfield, who was among the first of the young white musicians who began hanging out in black blues clubs in the 60s, soaking up the music and learning as much as they could. I don’t think they were trying to be civil rights pioneers (that movement was just beginning); I think they just loved the music and wanted to get to the source. Bloomfield, who grew up in a wealthy Jewish family on the North Side of Chicago, fell in love with the blues when he was still a teenager, hanging out in blues clubs on Chicago’s South Side, a predominately black area. During these rounds he got to know Paul Butterfield, a relationship that would prove important to his career. Butterfield, like Bloomfield, came from a privileged background. He was the son of a lawyer and painter, had attended private school, and studied classical flute. But Butterfield wanted to play blues harmonica, and began frequenting the same clubs, where he met Bloomfield, Elvin Bishop, Nick Gravenites, and Charlie Musselwhite.

Charlie Musselwhite & Mike Bloomfield

Charlie Musselwhite & Mike Bloomfield

Paul Butterfield

Paul Butterfield

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As to why young Jewish guys would want to play the blues, Mike Bloomfield has been quoted as saying, “It’s natural. Black people suffer externally in this country. Jewish people suffer internally. the suffering’s the mutual fulcrum for the blues.” Marshall Chess says something similar in Larry Rohter’s New York Times article: “I think there’s something in the pain of the blues, something deep, that touches something ancient in Jewish DNA.”

The Paul Butterfield Blues Band was formed in 1963, and included guitarist Elvin Bishop, and two members of Howlin’ Wolf’s band, Jerome Arnold on bass and Sam Lay on drums. Bloomfield joined the band in 1964. The title cut of their second album, “East-West” (released in 1966) is a thirteen-minute instrumental tour de force, an early jazz/blues/rock fusion mixed with Indian raga that’s quite amazing.

Bloomfield met Bob Dylan at a club in Chicago. Dylan’s account of this meeting in Born in Chicago is quite amusing, and also reflects his high regard for Bloomfield’s playing. After hearing the Butterfield band play at the 1965 Newport Folk Festival, Dylan asked them to back him the next day for his first electric performance. With very little rehearsal, Bloomfield, Sam Lay, and Jerome Arnold played a four-song electric set with Dylan that became quite controversial. Bloomfield went on to record with Dylan, and is prominent on Highway 61 Revisited, especially on “Like a Rolling Stone.” Per the Wikipedia entry, “Bloomfield’s sound was a major part of Dylan’s change of style…”

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Through a deft mix of interviews and performance clips, Born in Chicago sharply conveys the strength and beauty of this music, which was very specific to a time and place. The interviews provide a kind of oral history and commentary from people who were there at the beginning, and those who came after. We hear from Marshall Chess, Nick Gravenites, Corky Siegel, Keith Richards, Eric Burdon, Jack White, and others. A standout is Mike Bloomfield’s interview segment, seen in an archival clip (he died in 1981 at age 37). Young white musicians learned from older black artists, most of whom came from South, and passed it on. Born in Chicago shows us what this music meant to those who played it, and to those who loved it. – Ted Hicks

Born in Chicago had a single screening on July 26 at a Film Society of New York theater near Lincoln Center. According to the film’s director, John Anderson, distribution plans are still being worked out. If you’re at all interested, watch out for it, as it’s a valuable document with a lot of great music to boot.

Posted in Film, Home Video, Music | 1 Comment

Breaking Bad — “I Am the Danger”

Breaking Bad poster - Walt

(Though the term “spoiler alert” is overused, that’s what this is. If you haven’t seen Breaking Bad, or are still in the early seasons, be advised that the links, clips, and interview segments below may contain spoilers. Proceed with caution.)

Becoming a Breaking Bad fanatic didn’t happen overnight for me. I’d decided I didn’t want to watch this new series even before the first episode premiered in January of 2008. I didn’t think I’d be interested in a protagonist who cooked and sold crystal meth. I don’t know why this bothered me, since I loved The Sopranos, which was populated mainly by murderously violent criminals, and Omar Little, a stone cold killer, was one of my favorite characters on The Wire, one of the greatest television series ever. So I’m not sure why Breaking Bad‘s premise — a high school chemistry teacher in Albuquerque learns he has terminal cancer and becomes a high-end drug dealer so his family will have money after he dies — put me off to the point of not even being willing to check it out.

At the time I wasn’t aware of Vince Gilligan’s work on The X Files, a series I’d liked a lot, so when I saw that he was the creator of Breaking Bad, it didn’t mean much. I didn’t know who he was or what he’d done. Bryan Cranston I knew from Malcolm in the Middle, and wasn’t sure how well the actor who was the largely clueless, doofus dad in that comedy series was going to work in such a different setting. Well, I found out in both cases. Based on the continuing achievement of Breaking Bad, Vince Gilligan is definitely an equal with the three Davids: Milch (NYPD Blue, Deadwood), Simon (Homicide: Life on the Street, The Wire, Treme), and Chase (The Sopranos). They’ve all created great work that has lasting value. Bryan Cranston’s portrayal of Walter White is amazing, simply astounding. As Vince Gilligan put it in his pitch to networks when he was trying to get Breaking Bad off the ground, the series would show the transformation of  Walter White from Mr. Chips to Scarface. We see the journey of a fundamentally decent man who becomes capable of the most heinous acts, which he repeatedly justifies by claiming that everything he does is for the welfare of his family. Watching him walk this line is both frightening and fascinating. Here is a scene between Walter and his wife, Skylar (the equally excellent Anna Gunn) from episode six of season four. It contains the signature lines, “I am the danger,” and “I am the one who knocks,” which are chilling in context.

As I said before, I came late to the party. I was hearing great things about the series, and began to think I might be missing something, that I should catch up with it at some point. I still hadn’t seen it by April or May of last year. By that time, four seasons had already been telecast, and the prospect of starting from the beginning was daunting. But then a friend of mine sent us DVD sets of the first three seasons, and it became a little harder to keep putting it off. A couple of weeks after receiving the DVDs, my wife and I started watching and were hooked immediately. We burned through those three seasons, and then the fourth, which I knew I had to buy. We finished the fourth season a couple of weeks after season five began airing on July 15, which I was recording. We quickly caught up, and then had to suffer the hardship of having to wait a week between each new episode. The term “binge viewing” has lately caught on, and it’s an excellent description, because that’s what it feels like.

Vince Gilligan-Moving Image 7-28-13The final eight episodes begin airing on Sunday, August 11. There’s been a blitz of Breaking Bad activity here in New York City the past week or so. The Film Society of Lincoln center ran marathon screenings of the first five seasons, one season a day. This was described as an “experiment in communal binge viewing.” The screenings were free and drew overflow crowds. Last Sunday night we went to the Museum of the Moving Image in Astoria, where we saw Vince Gilligan being interviewed by Charlie Rose in a sold-out event. That interview can be viewed here: http://www.charlierose.com/watch/60247981

A Times Talk event took place on Tuesday at the New York Times building with Vince Gilligan and cast members interviewed. It was sold out, but we were able to watch it at home via live streaming. It was terrific. The cast’s comments, often very funny, offered an opportunity to go behind the scenes with them, and gave me the feeling we were getting to know them apart from their characters on the show. The affection they obviously feel for one another is contagious. Here’s a link to the discussion (this takes you to an NYT Arts page; you can start the video from there; the intro takes several minutes, but the wait is worth it): http://artsbeat.blogs.nytimes.com/2013/07/30/live-video-bryan-cranston-vince-gilligan-and-others-on-the-end-of-breaking-bad/?ref=arts&_r=0

After we finished watching this, I checked my email and discovered I’d won a pair of tickets Breaking Bad-Walter Reade 7-31-13for an advance screening of the first of the final eight episodes, which begin airing on August 11. This took place at the Walter Reade Theater the following night on July 31, which also happened to be my birthday. What an unexpected present. It was great. Vince Gilligan and the cast were in attendance, along with — and this was surreal — Keith Richards, Lou Reed, David Chase, and Warren Buffett, among others in the crowd. We had to sign confidentiality agreements to get in, so I can’t reveal anything about the episode even if I wanted to. All I can say is, it definitely does not disappoint.

Bryan Cranston has made Walter White’s transformation from a high school chemistry teacher to hardened criminal truly something to behold. It’s hard to single anyone out, because the entire cast is so good, but my favorites are Aaron Paul as Jesse Pinkman, Walter’s partner (and surrogate son) in the meth business (for me the moral center of the show), and Jonathan Banks as Mike Ehrmantraut, a fixer and deadly hitman, scary and oddly lovable.

Breaking Bad-SimpsonsBreaking Bad is an amazing series. I don’t think there’s been a false step in the 54 episodes that have aired to date. The show is challenging, inventive, and surprising at nearly every turn. By now it’s become part of the culture, much as The Sopranos did before it. You know you’ve arrived when Walter White paper dollyou’re referenced on The Simpsons and people are coming up with Walter White paper dolls.

All great feature films and television shows succeed mainly because they create rich, dimensional characters, and put them in compelling situations that connect with an audience. Breaking Bad is both immensely entertaining and deeply disturbing. Vince Gilligan has said, “We want to make people question who they’re pulling for, and why.” He has also said that the larger lesson of the series is that “actions have consequences.” Breaking Bad, along with The Sopranos and The Wire, is a sustained narrative accomplishment equal to the best works of literature.  The series is almost over, but I’m thrilled to have been along for the ride. – Ted Hicks

Episodes of Breaking Bad are available for streaming via Netflix and Amazon.

Here’s a link to the official AMC Breaking Bad website.

Posted in Home Video, TV | 4 Comments

Friction Fiction #2 — “Do Not Be Afraid”

The following story was written some time ago while I was a member of the Riverside Writers’ Group, an excellent fiction workshop led by the equally excellent Bill Roorbach in the late ’80s here in New York City. It’s autobiographical, in the sense that all fiction is autobiographical to one degree or another, though I’ve never been abducted by aliens (as far as I know), nor have I ever met Tuesday Weld.

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UFO2by Ted Hicks

The man and woman wearing matching motorcycle jackets were walking down the street hand in hand, yelling at each other. Taylor watched them from his fifth floor apartment, disturbed and yet excited by the violence in their voices. He pulled his head in and closed the window, wondering how many blocks they’d get before one of them punched the other in the face. Well, at least they were together.

Taylor sat back down in front of the television where he’d been watching Bugs Bunny cartoons when the angry shouts had brought him to the window. But now he couldn’t concentrate, and after a few more minutes of watching Bugs and Elmer going round and round, he turned it off and put the disk away with his other cartoon DVDs.

He thought about the couple in the street. Taylor was nearly forty-five and he didn’t even have anyone to fight with. Whose fault is that? he thought. Maybe if he’d do something besides feel sorry for himself. He turned from the bookcase filled with DVDs and walked once around the room, trying to focus on something.

Taylor went to the bathroom and looked in the mirror. His beard was coming in nicely. He stroked under his chin. He was good-looking enough, or so he’d been told; he dressed okay; he was an interesting guy; he just didn’t seem to have much luck with women. But what was luck, anyway? Don’t we make our own luck? He made some goofy faces in the mirror, then stopped, frowned, and sat down on the closed toilet seat. He couldn’t figure it out.

He thought about Marie. Marie had lived with him for six months, and he hadn’t missed her until she’d left. Maybe if he’d missed her a little while she was still there, things might have turned out differently, though he doubted it. It was like when he’d gotten those two kittens a few years before. That lasted all of a month. Taylor had wanted them around when he wanted them around, but they were there all the time.

He’d had a fantasy about getting rid of the kittens, dumping them in the Hudson tied in a bag, or just turning them loose in the park. And that put the image in his head that every time he’d leave his building, these starving cats would come mewling around his feet while he hurried away pretending not to know them. Finally he’d just given them away, and then, typically, missed them terribly.

Taylor ran his hand along the rim of the tub. When he was out of work a few months before, suicidal images had taken on a disturbing clarity, a shape and hardness that had threatened to overtake his fantasies. He’d had a clear picture of being naked in the tub, his wrists slashed, watching the tub fill with blood. Then he’d started wondering how much blood was in the human body and how deep it would get in a tub this size. It would have to be enough to cover his crotch, because the idea of someone breaking in and finding him dead with his penis poking out of the congealing blood was just too humiliating to contemplate. Or he could put a plastic bag over his head and go out like that, but that way seemed too real, too possible, and it frightened him.

Taylor stood up. He had to get out of the apartment for awhile. He changed to his running gear. He would go to Central Park and run a few laps around the reservoir, which might at least make him feel like he was doing something.

On his way out Taylor made sure his phone was on. He didn’t get many calls, but you never knew. Lately he was getting calls from people misdialing a fast food chicken place that had a number close to his. He often thought about pretending to take the order and promising a quick delivery that would never arrive, or quoting absurd, insulting prices, but he never did.

Taylor was feeling okay by the time he reached the park, though he thought it odd that the reservoir track was deserted this cool Sunday morning. It was overcast, the grey clouds hanging low. Taylor pictured, as he often did, being abducted by a flying saucer, picked up from this track, and taken to a distant galaxy where he would be studied having sex with a young and willing Tuesday Weld as she was in 1968 in Pretty Poison. What a great movie.

Taylor was coming around the north side of the reservoir. He could see the midtown skyline in the distance to the south. By the time he heard the sound, it was already all around him. He stopped and turned, then looked up. A large silver ball the size of his parent’s house was descending from the heavy clouds until it was just above him. An apparatus extended downward and quickly, gently, drew Taylor up into the sphere. He lost consciousness with excitement.

When he came to, Taylor was strapped to a comfortable chair in front of a smooth, bare desk. Watching him from across the small, circular room was a slim reptilian creature, humanoid in shape, wearing a Daffy Duck t-shirt and faded denim jeans ripped in the knees. The alien came forward and sat down across the desk from Taylor.

“We thought you would be less anxious if you saw something familiar,” it said in a calm, soothing voice, pointing to the cartoon image on its shirt.

Taylor nodded. He tried to smile. He suddenly felt foolish in his running clothes. The alien leaned slightly forward.

“Do not be afraid. You are wondering if this is really happening, and if so, how is it possible that this is so close to a fantasy you often have? Months ago we put this idea into your mind. We have targeted you, and others like you, people with no one to love and little hope for happy or meaningful lives, people who won’t be missed and won’t mind going. You will be taken to worlds beyond your imagination while we study and help you. You will be leaving this…” — the alien gestured and a three-dimensional image of the earth appeared just above the desk — “…behind forever.” The alien gestured again and the earth winked out.

Taylor felt giddy relief spreading through his body, like he’d just been fired from a horrible job he didn’t have the guts to quit. The alien spread its clawed hands on the desktop and continued.

“If you think that this isn’t real, that it is childish wish fulfillment, and that you are in fact insane, well, if that were so, what difference would it make?”

The creature paused dramatically.  “And now there’s someone here who wants to meet you.”

The alien looked to its left. Taylor followed its gaze, his grip tightening on the arms of the chair. He held his breath as a panel in the curved wall slid open with a whisper. Tuesday Weld walked naked through the door.

Tuesday Weld

Posted in Fiction | 3 Comments

“The Conjuring” — Ooga Booga Not So Much

According to its opening weekend box-office of $41.5 million, The Conjuring was the number one movie in America last week. Having seen the film, I can only conclude that this represents a triumph of marketing over actual content. In addition to bringing hordes of people to the theaters, the film received generally strong reviews from sources such as The New York Times and Variety.

It was Justin Chang’s rave review in Variety several weeks ago that really got my hopes up. Then I saw the movie. Far from being the “…sensationally entertaining old-school freakout and one of the smartest, most viscerally effective thrillers in recent memory” or the “…exuberantly creepy supernatural shocker…” his review claims, the film I saw last Friday was inept and clumsy, more annoying than frightening. Most disturbing was the disconnect I felt between my reaction, all the positive reviews, and the many thousands who flocked to see this film. Was I that far out of the loop? Did I see a different film entirely?

The Conjuring presents itself as the “true” story of the exorcism of a haunted house, based on actual persons and events. In 1971, Roger Perron, a long-haul trucker (played by Ron Livingston, who will be forever dear to me for his role in Mike Judge’s 1999 film, Office Space) and his wife Carolyn (an excellent Lili Taylor, giving the best performance in the film) move into an old, secluded farmhouse in Rhode Island with their five young daughters. The family dog refuses to enter the house. Hello? This is not a good omen. The dog senses something that quickly becomes all too apparent to the Perrons: the house is possessed by evil spirits that mean them harm. Doors open by themselves, unexplained sounds are heard, bruises appear on Carolyn’s body without apparent cause, pictures come crashing down from the walls, that sort of thing. And because money is tight, they can’t afford to move.

Patrick WilsonAt this point, Roger and Carolyn, desperate for help, call in Ed and Lorraine Warren, ghost hunters who investigate hauntings and other paranormal activity (the real Ed Warren died in 2006; Lorraine still walks among us and was a consultant on this film). Ed, a “demonologist,” is played by Patrick Wilson, wearing period-appropriate sideburns that nonetheless distracted me every time he was on the screen, though his sweater-vests may also be to blame. Lorraine, a clairvoyant and medium, is played by Vera Farmiga, an otherwise terrific actress (Down to the Bone – 2004, The Departed – 2006, Up in the Air –2009), who’s basically wasted here, along with everyone else. These are all good actors, but I never for a minute felt that any of the them believed a single word they were saying (though the kids were pretty believable).

The entire film felt almost completely inauthentic to me, despite the effort to pass The Conjuring off as an account of actual events. The story wasn’t told in a way that allowed me to buy into what I was seeing. I don’t mean that I have to come out believing that ghosts actually exist, but I need to believe they do in the context of the film itself. A willing suspension of disbelief, so to speak, is required for a film like this — or any film, really — to work. No matter how far out — vampires, zombies, a Martian invasion, time travel, teleportation, whatever — it needs to be presented in a concrete way that feels real. David Cronenberg’s The Fly (1986)and Guillermo del Toro’s Pan’s Labyrinth(2006) are excellent examples of films that work, despite being quite fantastical.

The closing credits of The Conjuring included photos of the real Ed and Lorraine Warren, and the Perron family, as though this would somehow lend validity to  the movie we’d just seen. This felt really cheap to me. Another effort to give the film a bogus seriousness it neither possesses nor deserves can be seen in the “warning” poster below, which was apparently displayed at a theater where The Conjuring was playing. Though in all fairness, I’ve not been able to find out where this was, or who was responsible, so the studio may not have been behind it. This kind of hype is a throwback to gimmicks frequently used to sell horror films in the 1950s.

Conjuring-warning posterThis brings up another point. Note where the warning poster says that someone called Father Perez will be “available after the film to provide spiritual support and/or conduct a personal blessing should you feel the need.” Aside from being total bullshit and offensive to boot (unless it was written tongue-in-cheek, which I can only hope), the religious element of this statement underscores something fundamental to all ghost stories, which is the existence of an afterlife. Almost always, in American films at least, this is seen as a Christian afterlife (usually in Roman Catholic terms). Vampires are repelled by crosses and burned by holy water; demons are cast out by priests. My favorite scene in Roman Polanski’s The Fearless Vampire Killers (1967) cleverly plays with these conventions. When a crucifix is brought out to ward off a vampire who was a Jew in life, the vampire dismissively waves his hand and says, “Oy vey, have you got the wrong vampire!” The Conjuring sees ghosts, demons, and possession from a Christian point of view (the Warrens are deeply religious) and plays it completely straight, as though none of this was open to question. There’s something about the way this is done that I found extremely off-putting. I’m not sure why, exactly, because I’ve never had a problem accepting this aspect in films such as The Exorcist, for example.

I don’t quite understand the rush to see The Conjuring, though as I said earlier, strong marketing must have played a big part (it will interesting to see how well it does in its second week). Certainly a lot of what’s currently in theaters hasn’t connected with audiences. Hugely expensive films (costing $130 to $225 million) have already tanked, including After Earth (did anyone really want to see this?), R.I.P.D. (ditto), and the awesomely useless Lone Ranger (which I actually saw, no excuse). For me, World War Z is clearly the best of all the “big” summer releases so far. I liked it a lot, though I don’t hear people talking about it much. World War Z reportedly cost $190 million to make plus another $100 million to market. As of July 22, its domestic box-office was nearly $188 million, with foreign at $457+ million. So World War Z is hardly a flop, but Hollywood gets more excited when you have a film like The Conjuring that costs only $20 million to make (this is now considered low-budget), and already seems to be a hit.

The most effective thing about The Conjuring is the poster at the head of this review. I wonder if critics and audiences who have embraced it as a superior horror film have ever seen The Univited (1944), Dead of Night (1945), Curse of the Demon (1957), The Haunting (1963), Rosemary’s Baby (1968), or The Others and The Devil’s Backbone (both 2001). These are well-made, intelligent films that get under your skin with truly unsettling moments, and are worth getting excited about.

I’ll close with another shot of Patrick Wilson and his side burns, plus someone in the background he doesn’t seem to notice. — Ted Hicks

Patrick Wilson2

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P. S. While there may be a shortage of good multiplex movies to fill the need this summer, all is not lost, as plenty of excellent “smaller” films that have been recently released, including Museum Hours, Fruitvale Station, The Act of Killing, The Attack, A Hijacking, and Much Ado About Nothing. All are well worth seeking out.

Posted in Film | 4 Comments