Spooktacular Watch: Supernatural (1933)

Watched:  08/14/2019
Format:  Alamo S. Lamar
Viewing:  First
Decade:  1930's

Say what you will about Austin, but I just got home from a Tuesday 9:30 PM showing of a 1933 horror movie almost no one has seen who is currently alive, and the place was hopping.  I know this is true in other cities, but this one is mine.

For whatever reason I enjoy what the studios were up to with horror in the pre-Atomic Age films, a mix of the occult, mythical beasts, ghost stories and sometimes just creepy old houses with a Boris Karloff in them.  Supernatural (1933) would have come out on the heels of Dracula (1931) and Frankenstein (1931) in the era where not just Universal, but other studios, were getting in on the horror genre and the Hayes office wasn't yet really enforcing any codes.

MST3K Watch: Killer Fish (1979)

Watched:  08/12/2019
Format:  Netflix MST3K - The Gauntlet
Viewing:  First
Decade:  1970's

Sometimes movie stars just want to take a vacation and maybe shoot a movie while they're there.  You see it all the time in these peculiar movies that don't look very good but star people who actually cost some money - and the movie is in, say, Hawaii.  They're called "postcard movies", and the deal is usually that the star maybe asks for less because they're being put up in a really nice hotel in Maui for two months to make some romcom or whatever.  Their family comes out and they go boogie-boarding on their days off.

I kind of suspect something similar was afoot in 1979 when Killer Fish went into production.  The movie doesn't have the world's biggest stars, but in '79 Lee Majors was a pretty big deal and Karen Black was still bankable.  I imagine selling the movie as "come down to Rio de Janeiro for a couple months" was a pretty good deal.  I'd also mention, this movie was part of the short-lived Fawcett-Majors Productions, a go at producing from when Lee Majors and Farah Fawcett were Hollywood's foremost couple.  And, no, you've never heard of this movie or the other films that they produced.

Western Watch: The Ox-Bow Incident (1943)

Watched:  08/11/2019
Format:  TCM on DVR from a looooong time ago
Viewing:  first
Decade:  1940's

Well.  Between this and The Lost Weekend, I picked quite the double-bill for the weekend.

I mean, I knew.  I'd rented this movie twice in college but when I'd think about what it was about, I'd never hit "play" on the ol' VCR.  And I'd recorded it a half-dozen times on the DVR and never watched it.  But this time I did.

The Ox-Bow Incident (1942) is about a small town in the old west who finds out that a local rancher has been killed, and so they pull together a posse to go track down the killers.  It's a mish-mash of local color and yahoos, rationalizing why they don't need to follow the rules, exactly, and supported by the ineptitude and slack nature of some local authority.

Wilder Watch: The Lost Weekend (1945)

The Lost Weekend (1945) is one of those movies that you always know you should watch, but when you know what it's about, it's sort of hard to get fired up to put on.  But with Billy Wilder behind the camera and with a "co-written by" credit, it did nudge me toward "okay...", and knowing it featured Ray Milland, whom I like well enough, and Howard Da Silva, whom I really like, it put it in the "yeah, I need to see that" direction.

But in the past month two things happened.  (1) I read that Wilder wrote the movie after working with Raymond Chandler to write Double Indemnity.  Chandler certainly suffered from alcohol addiction and, as it will, the addiction impacted his professional and personal life.  I'm unclear on whether Chandler was dry during Double Indemnity, but I'm also sure working with Wilder would drive him to drink.  While the two never got along, it's noteworthy that whatever he saw and respected in Chandler was mixed up with how he saw his alcoholism.  (2) Our own JimD referenced the movie and asked me when the last time was that I'd seen it, which was "never".  Mid-tweet response I decided to watch the movie this weekend.

Myrna Watch: The Bachelor and the Bobby-Soxer (1947)

Watched:  08/11/2019
Format:  TCM on DVR
Viewing:  Second
Decade:  1940's

I guess it's considered punching down to make fun of high-school kids, especially girls (and right now, I can feel some of you out there tensing your fingers to respond why in the comments), but, I mean, c'mon.  The Bachelor and the Bobby-Soxer (1947) is a sorta-screwball comedy that hinges entirely on a particular flavor of high schooler who decides they're more sophisticated and mature than all of their classmates, and entangles a swinging post-war playboy-type.

Super Satire Watch: The Boys (Amazon Prime)

I haven't actually read Garth Ennis's The Boys series.  I read the first trade and always intended to follow up to see where it went from the set-up, but never quite got there.  I'll make up for it now, but it's gonna take some purchasing power, I guess.

Flat out, Garth Ennis is one the three or four best writers in comics, and, on some days, I think he's just "the best".  Some of us stumbled upon him due to his bizarre ability to make gore and violence absolutely hilarious (in the right context) but stayed for the amazing characterization, astounding turns to genuine sympathy for unsympathetic characters, and his ability to grasp humanity and the tragedy and comedy of his characters enough that they feel can feel three-dimensional.  All while existing in profane, graphically violent, sexually frank or ridiculous situations that seems like it would send many-a-comics-twitterer running for some pearls to clutch.

PODCAST: "Crawl" (2019) and 'Rogue" (2008) - Gator/ Croc Cinema! w/ SimonUK and Ryan

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Watched:  Crawl 07/31/2019, Rogue 08/06/2019
Format:  AMC Barton Creek and DVD
Viewing:  First for both
Decade:  2010's/ 2000's

SimonUK and Ryan take a bite out of two movies that burst from the depths to surprise us. We compare and contrast a pair of films that rolled us over and made us take notice, but definitely felt we could sink our teeth into.



Music:
Crocodile Rock - Elton John, Don't Shoot Me I'm Only the Piano Player
See You Later, Alligator - Bill Haley and the Comets


Playlist - SimonUK Cinema Series:

In the wake of two mass shootings

This weekend saw two mass shootings.

You don't need for me to tell you why those shootings happened, or describe the tragedy of what occurred and what was taken from families, friends and communities. Or that it didn't always used to be this way.

But it sure is now.

The pair of shootings seemed to have stemmed from the politics of the shooters, one far right, the other far left, each running to extremes.  At some point those divergent points of view seem so far apart they, in fact, curve back toward the same point.  (Look, the El Paso shooter left a manifesto and was taken into custody, and is far less of a mystery to me than the misogynist antifa fan in Ohio who was dead within a minute of opening fire.  But "making sense" is not usually something I associate with mass murder).    It leaves us with some common traits between the shooters, not the least of which is the ability of anyone off the street to arm themselves like they're storming Baghdad and pop off if they're having a bad day and feel misunderstood.

I'm tired of men who can't handle their shit or that life wasn't what they expected turning their self-loathing on others, their shame metastasizing into a need to prove their place in the world with juvenile fits and the tools of a soldier.

Once again, a lot of politicians made bland statements, the media conglomerates handled it within their brand standards, and the paid spokespeople took to cable.  Horrified and mourning people were treated like exotic animals on safari by national news.

I had a whole lot more written, but I deleted it.  I'm just done.  This is impossible to write.

We're exhausted.  Exhausted from knowing something could be done and, for some reason, won't be.  And exhausted because every time you open your mouth about how obvious it is that this situation is insane, there's someone there who cares more about middle-school debate club needling and badly reading a single sentence than they care about piles of dead people.  And there's no other way of looking at it anymore.

I'm tired of knowing people want to run for office and tell people how to live who don't care if the people they're supposed to represent live at all.

We can do better, if we want to.  But I don't see anyone who wants to do better, and I can't begin to understand why.

Noir Watch: Thieves' Highway (1949)

this quote is exactly what Jamie said to me when we met

Watched:  08/04/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

There's a surprising number of movies about or including the work of "trucking" in this category we call "noir".  I suppose it makes sense given the world of people operating mostly alone, moving from place to place by day and night.  Add in the shadiness of transportation companies and both the folks sending and receiving goods, and it's fertile soil for drama.  And it's not like people like myself who've never ridden in a truck are oblivious to truckstop shenanigans. 

But who would have thought moving produce would lead to excellent noir drama?  But, at it's core, Thieves' Highway (1949), which is 100% about moving produce, contains a lot of what I think of when I ponder what comprises the "noir movement".  Characters in over their head pursuing goals due to hubris or lust (this one has both), a disaffection with the status quo and everyman status, a woman on the make pulling the wool over some schmuck's eyes...  it's all there.  Plus a heavy played by Lee J. Cobb and a morally gray protagonist played by Richard Conte.

Noir Watch: In a Lonely Place (1950)

Watched:  08/02/2019
Format:  Criterion BluRay
Viewing:  Second or third
Decade:  1950's

Nicholas Ray has an earned reputation as a director, if, for no other pop cultural reason than Rebel Without a Cause and - for noiristas - They Live By Night.  I hadn't realized, til watching the extras on this Crtierion disk, how much Ray's work helped spawn the thinking in Europe that led to auteur theory of film.  It's not a theory I necessarily subscribe to anymore, but like anything - some directors are better in general, are more attuned to their work and/ or manage to find work that better suits their sensibilities than other directors.  I do get excited when the names like Fritz Lang, Edward Dmytryk, Robert Wise and Jules Dassin (and many, many others) cross the screen.*

And, in some productions, those reputations as the driving force behind the movie makes sense.  There's no doubt whose movie you're watching when you're watching a Tarantino movie or a lot of Spike Lee's features, especially when they wrote the thing to begin with.