Mary Wilson Merges With The Infinite

Mary Wilson of The Supremes has passed.

Wilson was 76.

Growing up, The Supremes were put on a pedestal by the media, and my mother herself was a fan.  While it was not non-stop Supremes music in our house, I was aware of her opinion on them.  And, even by middle school in the mid-80's, I was pretty well aware of their pop culture stature and place in American music.  

Just before COVID hit, SimonUK and I went to go see Mary Wilson at a small theater here in Austin.  Our seats were terrible, off to the side and partially obstructed by the piano.  Still, I was excited.  Hilariously, I'd found out days before that my parents were also going to be at the show, and sure enough - there they were.

Anyway - show starts, and Mary Wilson does a number, maybe two, then looks over at me and Simon and says "there's better seats right up front".  So.  We got up and moved, and I sat front row center for Mary Wilson, and I am here to report - it was one of the best concert experiences of my life.  

That was less than a year ago.  

I am stunned to learn of Wilson's passing.  She seemed a fraction of her 70+ years, was lovely, hit every note and kept the room in the palm of her hand.  I was semi keeping track of her for when I expected she would return.  

As shocked and saddened as I am to hear she has passed, I also am sure of her legacy and place in music history.  

We'll miss you, Mary Wilson.

Accidental Watch: Keep Your Powder Dry (1945)

the tagline is not remotely what this movie is about

Watched:  02/08/2021

Format:  TCM

Viewing:  First

Decade:  1940's

Director:  Edward Buzzell

Knowing it was Lana Turner's 100th birthday and TCM was running a marathon, I flipped over to TCM on the cable dial, and was just putting on this World War II movie about women in the WACs starring Turner, Laraine Day and Susan Peters... and then the movie ended and I realized I watched the whole thing.  

Anyway.  I guess that happened.  It was not bad!

Watch Party Watch: V.I. Warshawksi (1991)

Watched:  02/08/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  2020's

Director:  Jeff Kanew

When V.I. Warshaswki was advertised in 1991, I remember thinking "but... what is the hook?"  Like, I wasn't all that much into detective movies, and by 1991 already, the notion of a woman in an ostensibly male-oriented job wasn't... all that novel.  Especially when you had a big-ticket actor like Kathleen Turner showing up.  If she wanted to be a lady sous chef or neurosurgeon, okay.  

By hook I mean: I couldn't tell you much about the actual crimes or mysteries of the Lethal Weapon franchise, but I could talk about the cast and the character interactions.  I didn't pay money to see Mel Gibson solve a crime - I had detective and cop shows on every night of the week.  I paid money to see Mel Gibson and Danny Glover be pals and do their thing.  I hate to say it, but in 1991 and 2021, "but she's a lady!" is not much of a hook. Maybe in 1981?   

100 Years of Lana Turner

All I noticed was that - for reasons unknown - TCM was airing a full day of Lana Turner movies today.  They do this sort of thing, and I didn't give it a tremendous amount of thought other than - "gee, Lana Turner!".

It turns out today is the 100th birthday of screen legend Lana Turner.  

If you've never seen Turner in a movie and want to see what the hubbub is about, I'd check out The Postman Always Rings Twice.  

Turner was a thing of myth from her earliest career.  If you ever heard legends of actresses discovered at Schwab's Drug Store, that's Turner.*  She'd get dubbed "The Sweater Girl" for how she filled out her wardrobe.  Her personal life would take a few seasons of television to cover.  She was married nine times (starting with band leader Artie Shaw) and was probably most famous for her romance/ abuse situation with mob figure Johnny Stompanato that led to his death under confusing circumstances.    

But, as always, Turner rebounded.  I first saw her in the 1959 movie Imitation of Life (a thoughtful entry for a screening back in film school)  alongside fellow legend Juanita Moore.  If you've not seen it, fix that.  It's a terrific movie, a solid melodrama, and an examplar of the mid-century "women's picture" (and will give you a good idea what people are referring to when they reference Douglas Sirk).  

Like picking a Rita Hayworth film to watch, there's always the guilt of "why am I picking this movie?", but here's the deal - Turner was much more than her conisderable good looks.  Whatever was going on in her tragic and turbulent personal life (you can Google it), she's a natural actor and wouldn't have stayed on top for decade after decade if she didn't bring something special to her roles.  And she worked steadily from the late 30's to the mid-70's.  

I'm going to be watching Johnny Eager this week and might see if I can talk Jamie into Imitation of Life. But if you've not seen The Bad and the Beautiful, go for it.

*it wasn't actually Schwab's, but who are we or Turner to get in the way of a good story?

PODCAST: "Singin' in the Rain" (1952) - A Signal Watch Canon episode w/ Jamie and Ryan

Watched:  02/06/2021

Format:  HBOmax

Viewing:  Unknown

Decade:  1950's

Director:  Stanley Donen and Gene Kelly

More Ways to Listen

Jamie and Ryan sing the praises of an American classic! It's pouring superlatives and compliments as we take a look at a movie that really speaks to you, even if it's not with its own voice. Join us as we talk through the technical achievements, phenomenal performances and great fun of an American classic!

 

The Signal Watch PodCast · 138: "Singin' In The Rain" (1952) - Signal Watch Canon w/ Jamie & Ryan

Music:

Singin' In the Rain - Gene Kelly, Singin' in the Rain OST

Moses Supposes - Gene Kelly & Donald O'Connor, Singing in the Rain OST

Mentioned Clips:

• Cyd Charisse in the jazz number and the jump cut
• "Make 'Em Laugh" w/ Donald O'Connor"
• "Good Mornin'" w/ Reynolds, Kelly, O'Connor
• Moses sequence 
• Problems with sound

Signal Watch Canon Playlist

The Signal Watch PodCast · The Signal Watch Canon

Jamie's Cinema Classics

The Signal Watch PodCast · Jamie's Cinema Classics

Lynda Carter Watch: Bobbie Jo and the Outlaw (1976)

they misspelled Lynda Carter's name.  Well done, person in 1976.

Watched:  02/07/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1970's - and very much so

Director:  Mark L. Lester.  Go figure!

So, this came up on Prime, and I'd been meaning to watch it because it starred a pre-Wonder Woman Lynda Carter (reason enough), and then I found out it co-starred Marjoe Gortner, who you may remember from Starcrash.  And then the movie started and it said it was directed and produced by Mark L. Lester, and my brain about melted, because he's the guy who brought us one of my favorite movies: Commando.

Here's the thing - I wasn't expecting a ton out of this movie and was pretty sure I wouldn't finish it - but it was... okay?  Fine?  Nowhere the disaster I was expecting.  Like, it's a legit movie trying to do a thing, and it's competent, which I figured it would be when I saw Lester's name attached.  Which, honestly, was maybe a little disappointing, because I figured it was going to be terrible enough for a Friday night screening.  But, alas, it is not.  

Bobbie Jo and the Outlaw (1976) is part of the trend of movies that's -frankly - existed since the gangster pictures of the 1930's, but returned in force as stories of misfit individuals railing against normalized society (and winding up on the wrong side of the law).  The genre exploded with the counter culture adopting the idea with Cool Hand Luke and Bonnie and Clyde in 1967, and this movie borrows heavily from the latter film.

Bobbie Jo is a car-hop in New Mexico when she meets Lyle Wheeler, a smart but possibly crazy guy who idolizes Billy the Kid.  She's had it with her nagging mother and humdrum life, and decides Marjoe Gortner is her ticket out.  As one does.

The movie does a pretty good job of bringing the "crime spree" part up a bit later in the movie, letting Bobbie Jo and Lyle find their groove, do some peyote, and get up to basic shennanigans before it becomes clear Lyle stole the very cool muscle car their driving, and he's got no real jobby job.  They recruit Bobbie Jo's sister, her boyfriend and a nerdy pal and hit the road, eventually deciding to do some crimes - which Bobbie Jo is *delighted* about.  It's all fun and games.

There's a Buford T. Justice cop that goes in hot pursuit (which frankly makes no sense as he'd be leaving his jurisdiction, the FBI is nowhere to be seen, and he winds up accidentally killing a bunch of innocent people - which is never mentioned again).  

Anyway, the movie is predictable enough, because it wants to show that an outlaw like Lyle is too good or too much for this world, and Lynda Carter must survive in order to mourn him, gorgeously.  

It does feel a bit too reminsicent of Bonnie and Clyde at times, but I'm not entirely sure how you avoid the comparisons when it's two stories of outlaw lovers robbing places and trying to stay ahead of the law in the open spaces of the West.  You're gonna face some convergent evolution, even if you never saw Bonnie and Clyde.  

Watching the movie does make you wonder: wait, how was Lynda Carter *not* a bigger deal when she hit Hollywood?  Famously, she had less than $100 left when she was cast for Wonder Woman and otherwise wasn't finding any work.  This film was released in 76', and WW originally aired in 75', and I'm honestly not sure which shot first.    Wonder Woman premiered in late 75 and this movie came out in March of 76' and was an indie picture, so could have take a while to get assembled.  But before all that, her work is spotty.

Carter can sing, she can dance, she can act, and she - frankly - looks like Lynda Carter.  Maybe she didn't have the right mid-70's earthy qualities movies were looking for?  She's more old school in her approach than, say, Faye Dunaaway, but it sure *seems* like someone would have been smart enough to work with her.  Carter's part here is underwritten - she's mostly there to tell the audience that Lyle is sympathetic and not a sociopath (he is obviously a charistmatic sociopath, but I'm not sure the movie knows this, and thinks he's romantic).  But if you're more used to the polished Lynda Carter, it's a kick to see her getting high and playing with guns.  

Anyway - for a movie I was expecting to mostly suffer through, it was okay.  Maybe not the first thing I'd direct you to, but.  Anyway. 

Watch Party Regret Watch: Mannequin 2 - On the Move (1991)

Watched:  02/05/2021

Format:  Amazon Watch Party

Viewing: First

Decade:  1990's

Director:  Stewart Raffill

This movie wasn't very good.  Jenifer agrees.

These days, if a movie does well, studios understand that if they're going to make a sequel to a popular-ish film, the *best* thing to do is to try to go bigger and better.  Give the audience a reason to get them to come back.  However, Mannequin 2: On the Move (1991) is very much of the era where the reason for a sequel to exist was so that as many pilot fish left over from the first film can gorge themselves on the good will of the first movie and not care at all if the sequel will be worth the film it's printed on.

Pretty much nobody is back from the first movie - and I don't just mean Andrew McCarthy and Kim Cattrall.  The actual producers, up and down, aren't the same.  The director is new.  You have the same store as the location, and you have Meshach Taylor back as "Hollywood".  That's it.  So no one cares, no one is trying, and the end product may be less than ideal.

Anyway, there MUST have been a script, because there are costumes and whatnot, so someone knew what they'd need for shooting.  But it sure doesn't feel like there's a script - it feels like people dicking around in front of the camera.  Except for Kristi Swanson, who is actually at least trying here (despite a bizarre wig that seems inspired by a Rick James groupie's hair).  And, yeah, Meshach Taylor, but he was kind of dicking around in the first movie, too.

But there's only small bits in the 90 minute run time that actually reach the level of "funny bit" or "joke that might make one crack a smile".  The rest is weird mugging no one asked for and maybe one of the lest charismatic leads I can remember in anything that wasn't one of those movies with people fighting in a sci-fi wasteland.  And the weird thing is:  normally that guy is fine.  He's been in lots of stuff - stuff you've seen.  But here - he's working with nothing, and I guess that was a problem.

I don't regret making other people watch the movie.  At least we all suffered together.

Noir Watch: The Postman Always Rings Twice (1946)

Watched:  02/06/2021

Format:  TCM on DVR

Viewing:  unknown

Decade:  1940's

Director:  Tay Garnett

The Postman Always Rings Twice (1946) is among the top ten films I'd recommend in a "what you need to know about noir" seminar.  It's got an earned place among the noir canon, and even though I've read the book and seen it half-dozen times, I find myself thoroughly enjoying every time I return to it.  It simply works.  

It shares a certain headspace with Double Indemnity, which makes sense as both started as novels by James M. Cain.  There's not just a gritty realism in how characters are and behave, it's matched by the worlds Cain created that seem not far off from our own.  Roadside diners, insurance offices.  Heck, throw in Mildred Pierce and you're in the suburbs and building up comfortable eateries.  

All it really takes is infatuation to become an obsession, and everything can go off the rails.  

Friday Night Amazon Party: Mannequin 2 - On the Move

 

You. Will. Know. Pain.

Day:    02/05/2021

Time:  8:30 PM Central

Source:  Amazon Watch Party

Link here to watch, friendos

I've never seen this.  It's a 13% critics score on RT.  Metacritic doesn't even register it.

It's the second in a series of movies that asks "hey, would you @#$% a store mannequin?" and tells the tale of yet another fellow who absolutely would.

Christopher Plummer Merges With the Infinite

 

Actor Christopher Plummer has passed at the age of 91.  

Look, it's hard to get through Plummer's filmography, because he's been working for decades upon decades, and has been in so many memorable films - and I think he's amazing in the recent Knives Out.

But I also credit him with making me realize actors could be many things.  In 1987 or 1988, when I saw the comedic reboot of Dragnet on VHS, I remember snapping to "that... that's Christopher Plummer" as we were watching the movie.  I mean, I only knew him from Sound of Music and as a "serious" actor.  Seeing him in something so goofy, and what they were doing to leverage his gravitas, was kind of fascinating to me as a kid.  Anyway - it taught me a little something about actors and their range, and their desire to be more than one thing.  I won't say at age 12 or 13 that I stretched the idea beyond that - but over the years, watching him appear in film and after film, pulling off whatever was in front of him, was amazing.  

Of course, I didn't know at the time, either, he had entered this phase of his career and was just as likely to appear in serious drama as, say, Starcrash.  (He's actually very good in Star Trek VI).

But, man, what a life.  He'll be missed.