The Tall Guy's Gear Guide

Out of Reach(er)?

I appreciate having friends who can introduce me to new things that they think I'd be interested in.  I've got buddies like Pete Michaels, Vivian Chew and Bruce Jones who turn me on to all kinds of music, Mike Horton who keeps me up with the inner workings of James Bond and Bruce Lee, Joe Arancio, who introduced me to the world of the UFC, Robert Baruc who's provided me with a deeper appreciation of the sixties (not to mention how to talk your way into almost anything), Marc Sternberg, who's enriched my understanding of the mechanics of the film industry and a number of others.

My foremost resource for great books is my favorite curmudgeon, Howard Chaykin.  Howard, a legendary comic book artist/writer, television writer and world class raconteur, seems to read five books at a time, and finishes them with blinding speed and comprehension.

(w/Howard Chaykin on the left and Devilish Darwyn Cooke)

When we first became acquainted about a decade ago, we found we had a love of books in common.  We compared notes on some of our favorite authors, but when he mentioned 'Lee Child' and I gave him the blankest of stares, he took pity on me (after berating me mercilessly) and told me that I had to read 'Killing Floor', the first book in the Jack Reacher series.

(the first Jack Reacher novel)

I started reading the story of former military policeman, Jack Reacher, a blonde, 6'5", 250 lb. slab of muscle and smarts, who wandered the country with only a toothbrush.  No home, no baggage, no restrictions.  I was immediately drawn into author Child's ability to write spare dialogue that was colorful, yet to the point.  Most importantly, Reacher's calm under fire and very low tolerance for BS made him a classic American hero.

I called Howard and cursed him, because I was up until late that night trying to finish the book.  By the time I read the final page, I had ordered the whole series.  A new fan was born. 

(Howard Chaykin's Captain America, aka {unofficially}Jack Reacher)

Child is a transplanted Englishman living New York these days.  He delivers a new Reacher novel every year like clockwork.  Some adventure are huge, some not so much, but all provide this ass kicking drifter another opportunity to remind one and all what a real tough guy really is.

With the books constantly landing on the New York Times Bestseller list, the inevitable question had to come up:  Who'll play Jack Reacher in the movie?  I always thought that even though Reacher is described almost like a modern day viking: Big, white and blonde; that Dwayne Johnson would have been a great Jack Reacher.  He's got the size and intelligence, he was the right age, and he projected a cool calmness without strain.  In fact, when I met him several years ago, I gave him a copy of 'Killing Floor', but I doubt he ever read it.

(Dwayne Johnson, my choice for Jack Reacher)

A couple of years ago I heard that Tom Cruise was circling Jack Reacher.  I was horrified.  But when I thought about it, I assumed he'd get if for his production company and he'd produce it, letting someone else star.  Then it went quiet for awhile, and there was no more talk of a filmic Reacher outside of the forum on Lee Child's website.

Last year it was announced that Cruise had got the rights to 'One Shot' from the Reacher series and had signed to star as Big Jack.  I was stunned.  Nor were any of my friends who enjoy the Reacher series pleased to hear this unsettling news.  As you can imagine, the internet was on fire almost immediately with fans of Child's books, affectionately known as 'Reacher's Creatures', bashing Cruise for taking the role and accused Child of selling out. 

I couldn't blame Child for cashing in.  He should get whatever he feels is fair.  After all, it is his creation.  Whatever Paramount and Cruise do in the film world of Jack Reacher, good or bad, doesn't eliminate the availability of the original source material to interested readers.  I met Child a few years ago and found him to be a down to earth guy who talked straight, so I wish him well.

(with Crystal Wright and Lee Child)

The Cruise thing is another matter.  Unlike my fellows and a lot of movie goers, I like Cruise.  Met him twice, talked with him at length, and I gave him thumbs up both times.  He may have his issues, but he can be a really solid actor, has generally made good choices and always works hard.  I can't think of many actors who could have delivered the physical performance he did in last year's mammoth 'Mission Impossible 4', with minimal stuntmen stand-ins.  The guy never phones it in.

(Tom Cruise in MI4)

I've tried to keep an open mind about Cruise as Reacher, but it's tough, particularly when Child always makes a point of talking about both Reacher's size and his calm.  Cruise is said to be 5'6", but I'd put him closer to 5'8" or 5'9".  The photo below is from the audio commentary session for 'Jerry Maguire'.  While we look nearly the same height, Cruise was standing on a platform that was about 6 inches from the floor.  Even if he was wearing boots (which I don't remember), that would still put him at an average guy's height.

I asked Howard to draw an illustration of Reacher for me several years ago, which Lee Child also signed.  As you can see, there's no resemblance to Cruise.
(Jack Reacher by Howard Chaykin)

I read the script several months ago, when it was originally titled 'One Shot', before being changed to 'Jack Reacher'.  I was impressed with how well Christopher McQuarrie transferred the muscular narrative of Child's novel into a workable screenplay.  That gave me a bit of hope.  Then the first photo was released.

Wasn't bad, Cruise looked serious and ready to do damage, so I thought, 'ok, after MI4, you've earned the right to ask me to have an open mind'.  And I've been trying.  But when I saw the first teaser, I didn't feel hopeful.  For some reason, Cruise seemed smaller than usual; not a good thing.

Jack Reacher- teaser trailer

 

But I asked myself, 'how you can readily accept Daniel Craig as James Bond, when he's almost as physically the opposite of the book James Bond as Cruise is of the book version of Reacher?'  I still have no answer.  But I'm going to pull for Cruise to snatch victory from the jaws of defeat, because I'd like to have a great 'Jack Reacher' on the screen that did what 'Casino Royale' did, unanimously convert the naysayers and deliver a wholly satisfying movie.  Here's the second trailer, adding more story points and a better idea of how Reacher rolls.

'Jack Reacher'- trailer 2

 

But I have a theoretical plan B that bears review.  If 'Jack Reacher' doesn't work and there's no sequel, hopefully Paramount will let it stew for a few years and be ready for a reboot in four or five years, at which point, Chris (Thor) Hemsworth with be older and seasoned enough to step in and re-introduce a more platable version of this modern day Shane.  

(Chris Hemsworth, my vote for Reacher 2.0)

But until then, I'll be at the Arclight on December 21st with my fingers crossed.

Take care of your whole self and have a hopeful week! 

Skyfall: The Books of Bond

(Sean Connery- the well read James Bond)

It was a big  weekend for James Bond.  'Skyfall', the 23rd adventure and third starring Daniel Craig stampeeded over all the competition.  The film also opened in the UK on October 26th, to the best reviews of any 007 film, and promptly proceeded to smash British box office records, currently resting as the number one non 3D film of all time.

'Skyfall' is the centerpiece of the 50th anniversary of the Bond film franchise.  And as most pop culture events that last long enough to be celebrated, there are a variety of products released to capitalize on said anniversary, while also extending the mythology of the brand.

Part of the celebration is a rich, new collection of books that focus on different facets of James Bond on film.  I'm happy to provide a snapshot of several of these books, along with a few older ones, which will hopefully make it easier for you to determine which might best suit your interest.  I've already got a sizeable James Bond library, including three British first edition of the novels, and am pleased to report that each of the books listed below does a nice job of bringing fresh information to a genre that has been seriously examined and dissected for more than forty years. 

We'll start with my favorite book publisher, Taschen.  Almost always the best quality for the price, even when the price is high, Taschen consistently delivers the goods, and the James Bond Archives is no exception. 

 

Clocking in at 600 pages, 'The James Bond Archives' takes you behind the scenes of every Bond film, from 'Dr. No', all the way to 'Skyfall'.  Loaded with photos and art from Eon, the producers of the series, this collection is the most comprehensive overview of James Bond in the cinema that has ever been produced.

(storyboard from 'The James Bond Archives;)

Many of the photos have never been released before, and as is always the case with Taschen, the photographic reproduction is unsurpassed, as this promo shot from 'Thunderball' clearly attests. 

There is also a limited edition (500 total copies) of the book available, wrapped in gold leather, includes an original strip of film from 'Dr. No', a limited art print from 'Goldfinger' or 'You Only Live Twice' and all are signed by Daniel Craig.  The 'Goldfinger' edition is already sold out and the 'You Only Live Twice' edition will soon follow. 

Taschen collector's editions generally go up significantly in value, so in addition to it being a great book, it's also a solid investment.  I know what I'm getting myself for Christmas this year...

(Special Limited Edition of 500 copies)

Next up is a piece of classic Americana.  Life magazine has existed in one format or another for more than seventy five years.  A pioneer in the world of quality photojournalism, Life has covered James Bond for many films, starting with its cover story on 'Thunderball' in 1966.

If 'The James Bond Archives' is a bit out of your financial comfort zone, but you'd like a nice selection of photos with solid informational text, 'Life Magazine's 50 Years of James Bond' is a good buy.  Beautiful photos and smart writing make this worth the money.  You should know that there are two versions available.  One, an oversized, softbound version, has fewer pages and isn't as in-depth as the hardcover.  Either edition is fine, but the hardbound provides a deeper dive.

It's rare these days to see movie posters that are anything other than photoshop constructs, featuring big heads and a catchy tagline.  It's also rare to see major motion pictures offer completely different art campaigns outside of the US, preferring to save money by repurposing the same art all over the world.  Fortunately, James Bond has never subscribed to that idea, and the result is one of the best Bond books of all, DK Publishing's 'James Bond: 50 Years of Movie Posters'. 

It comes in a slipcase (see above) housing more than 300 pages of Bond posters, photos and prelimenary art from all over the world.  Brilliant color and almost completely comprehensive, it's a spectacular Christmas gift for the Bond fan in your life.

 

Following his successful autobiography, 'My Word is My Bond', Roger Moore returns with a light hearted look at the series as a whole, including of course, his seven film run.  Loaded with photos and pleasant anecdotes, the most amiable 007's personable style feels like an old friend who's stopped over for a spot of tea and a biscuit.  While he was never my idea of James Bond, I do appreciate the graceful way he's carried on as an ambassdor of good will for the franchise, almost 30 years after his final appearance as Bond, James Bond.

Greg Williams has been the onset photographer for every Bond film since Pierce Brosnan's final flick, 'Die Another Day'.  He has published a photographic journal of each of those films, combining on set photos with candid shots in color and black & white. 

(Daniel Craig turns the tables on photog Greg Williams in 'Bond on Set')

Williams has an artist's eye and an ability to know where to be to get 'the' shot.  With each of the Daniel Craig films, Williams has gotten bolder in the type of shots he goes after and even enlists Craig to try his hand at photography in 'Filming Skyfall'.  As a Bond fan, I love the opportunity to see more than the few photos that are released to the media to help promote the current movie.  

Terry O'Neill has been shooting James Bond since 1963's 'Goldfinger'.  'All About Bond' contains more than 100 photos, many never before seen, covering five Bonds and almost two dozen Bond girls.  The studio shots are nice, but O'Neill really has a way of bring out his subjects' personality and playful side when he has an opportunity to work with them, as the photo below of Sean Connery illustrates.

(from 'All About Bond' by Terry O'Neill)

George Lazenby has taken alot of abuse over the years for his single appearance as James Bond in 'On Her Majesty's Secret Service'.  To be fair, he was in a tough spot, sandwiched between Sean Connery's last two films as 007.  Hopefully he takes solace in knowing that OHMSS is generally regarded in most quarters as one of the very best films in the series.  To confirm that belief, comes the only book that focuses on a single Bond film and does it with exhaustive detail. 

Nearly 300 pages crammed with every bit of information, photography, advertising and artwork you could imagine, 'The Making of' is a blueprint lesson in how to comprehensively examine the creation of a classic film. 'The Making of On Her Majesty's Secret Service' is available from the author at http://www.ohmss.info/.

'The Battle for Bond' focuses on the legal mess that Ian Fleming found himself in with regards to the ownership of 'Thunderball'.  It's a convoluted and fascinating story that explains how Sean Connery's non-canon return as Bond in 'Never Say Never Again' (itself a 'Thunderball' remake) came into existence. If legal and backroom intrigue isn't up your alley, you'd probably be better off skipping this one, otherwise, it's a wild and woolly read!

If you're in the market for a refresher or primer of all of the James Bond films, Bill Desowitz has got your covered with 'James Bond Unmasked', a brisk informative overview of each film, up to 'Quantum of Solace', but Bill does plan to do an updated edition at some point to include 'Skyfall'. 

Each film features a detailed synopsis, and is peppered with behind the scenes information.  The book's biggest selling point is that it also boasts interviews with each of the actors who played Bond.  For clarification's sake, none of the interviews were done exclusively for this book, and most are several years old.  However, that's not a problem as all of the conversations were conducted by the author and are all worthwhile, going further than most standard Bond press interviews allow, and providing some thoughtful, interesting dialogue with the men who would be Bond. 

The gem of the interviews is a 2002 chat with Sean Connery, in what was probably the last interview that he really dug into talking about his history with 007.  The other interviews are good reads, especially comparing the rookie Daniel Craig of 'Casino Royale' to the  confident, successful Craig of 'Quantum of Solace. Bond Unmasked is available from the author at
www.jamesbondunmasked.com.

And finally, Amazon has just released new paperback and digital editions of the original James Bond novels, complete with newly designed thematic packaging.

There you have it.  All of these and other books on Bond can be had at Amazon.

Take care of your whole self and check back tomorrow for a full length concert from Stevie Wonder!

Christian Bale: The Overlooked Dark Knight

Let me get a few things straight before I dive into the meat of this missive:

• This post has mild spoilers, so if you haven't seen 'The Dark Knight Rises' yet, you might want to stop reading now
• I loved 'The Dark Knight Rises', flaws and all
• I don't know if it's my favorite of the trilogy yet, I'm still pondering
• Hans Zimmer's score was essentially another character and was the heartbeat of the film
• Christopher Nolan should do a Bond film, with Zimmer handling the music
• Nolan's ability to shoot action has dramatically improved from 'Batman Begins' to 'The Dark Knight Rises'
• Anne Hathaway delivered everything I expected from her and more as Selina Kyle
• Anne Hathaway is my favorite Catwoman
• While Bane's comeuppance was disappointing, he was a great adversary for Batman and the voice was genius

Whenever there's discussion about Christopher Nolan's trilogy of Batman films, it usually revolves around his ability to ground the story in reality, his strength in creating a comic book film that's truly epic and of course Heath Ledger's Oscar winning performance.  But rarely is the spotlight placed on the actor who is actually the center of these films, the key cog, that if not expertly executed, would cause the whole thing to fall apart.

 When Frank Miller successfully re-energized Batman with his classic comic book mini-series, 'The Dark Knight Returns' in 1986, he laid out a blueprint that hundreds of comic book writers followed for the next 25 years.  The idea was that following the murder of his parents, Bruce Wayne was the costume, Batman was the real beating heart.  It's only been in the last few years that writers have begun giving the billionaire playboy more personality, more vulnerability and a still developing ability to have give and take relationships.

(a pensive Bruce Wayne from 'The Dark Knight Returns')

When Tim Burton brought his version of Batman to the screen in 1989, he took liberties with the source material (for example, unlike the comic, in the film version of Batman's origin, his parents are killed by the villain who would ultimately become the Joker).  His version of Gotham City looked like a stage bound small town and Jack Nicholson's Joker stole the film. 

In Burton's films, he focused on the villains because he thought Batman was a boring character.  Perhaps that's one reason he chose the unlikely but ultimately effective Michael Keaton as a wired, absent-minded Bruce Wayne.  Bespeckled and distracted, but brimming with kinetic energy, Keaton's Wayne never really let the viewer in, but still wound up as a convincing Bruce Wayne, but one who had woefully little to do with the comic book version of the character.

(Michael Keaton; the first modern era Bruce Wayne in 'Batman')

Following Burton's second, darker film, 'Batman Returns', featuring the Penguin and Michelle Pfeiffer's glorious Catwoman, Keaton had enough, as did Warner Bros.  The darkness of The Dark Knight meant retail partners were backing away from being associated with the Caped Crusader.  WB solved that problem by hiring Joel Schumacher to direct and more importantly, 'lighten up', Batman with 'Batman Forever'.

To aid in this effort, Val Kilmer donned the cape and cowl.  More traditionally handsome (and taller) than Michael Keaton, Kilmer on paper seemed like a good idea.  He looked good in the uniform and had a more refined presence as Bruce Wayne.  Unfortunately, he played Batman like a semi-campy cousin of TV's Adam West, while his Bruce Wayne was an uptight robot, down to the stiff, affected voice that conveyed a rigid stand-offish posture that kept both love interest Nicole Kidman and the audience at bay.

(Val Kilmer's take on Bruce Wayne in 'Batman Forever')

But the fault isn't all Kilmer's.  Schumacher didn't take the source material seriously, saying that Batman's parents died long ago and he needed to get over it.  Clearly he didn't get that crucial element is the core of the character's tragedy.  He created a bubble-gum bright movie, with every scene crammed with visuals and half cooked laughs.  But the audience bit.  'Batman Forever' was a hit, reviving the franchise and giving Schumacher carte blanche to helm the very worst of the Batman films, 'Batman and Robin', starring George Clooney as Batman and Arnold Schwarzenegger as Mr. Freeze.

(George Clooney's sophisticated Bruce Wayne in 'Batman and Robin')

Left to his worst impulses, Schumacher tried to recreate the camp of the television show with a huge budget and a star powered cast.  But it was a disaster.  George Clooney, prior to being THE movie star of the new millenium, was both still playing Doug Ross on 'ER' and  sorting his film career out. To Clooney, Batman must have looked like a good career move.  Whoops.  In his defense, Clooney had the potential to be a great Bruce Wayne: dashing, sophisticated, stately, but aside from his wardrobe, there was nothing really dark about him.  His was an amiable Bruce Wayne.  In the few scenes he shared with Alfred (Michael Gough), one gets a peek at what Clooney could have done with a better script and a director who 'got it'.  The less said about his still doing 'Doug Ross-head bobbing when he talked Batman', the better.

After both the dismal box office and scathing reviews of 'Batman and Robin', Warner Bros. put one of its most important franchises on ice for awhile, to let the stink fade and to find a new way to restore the lost luster of one of comics' greatest heroes.  Fortunately, there was a man with a plan waiting in the wings.

Christopher Nolan was that man, a talented and brainy writer/director, whose challenging independent films heralded the arrival of a new voice with a fresh point of view.  Nolan's initial movies, 'Memento' and 'Following' are crime dramas that force the viewer to pay close attention from start to finish, offering interesting characters to follow as well as intricate plots that reward repeated viewing.

(director Christopher Nolan)

Nolan wanted to tell Batman's story without the candy coated fantasy of Joel Schumacher or the nightmarish dreamscape of Tim Burton.  What was most unique about his approach was that he wanted to make Bruce Wayne the center of the story, and examine how the tragedy of losing his parents violently at a young age would change his world as well as his place in it.  So, by starting with the origin of Batman in 'Batman Forever', Nolan starts down a path of examination (without judgment) that extends into the the triumph and tragedy of Bruce Wayne in the already classic 'The Dark Knight', and culminates with the conclusion of Nolan's story of Bruce Wayne in the recently released 'The Dark Knight Rises'.

(Christopher Nolan and Christian Bale on the set of 'The Dark Knight Rises')

Seven years after the debut of 'Batman Begins', it's easy to overlook how important it was to get the casting right, with these three films being hailed as one of the greatest cinematic trilogies ever.  It's hard to imagine any of these movies without the man at the center of each film, Christian Bale as Bruce Wayne/Batman. 

(Christian Bale from 'Batman Begins')

Nolan said, "Christian had the right balance of darkness and light'.  Bale's sturdy work from the young, angry inexperienced playboy of the first film, to the haunted, self doubting hero of the second and finally, the broken, dispirited legend of the third film, is the quiet anchor that Nolan's world of Gotham City revolves around.  Much has been made of (and rightly so) Heath Ledger's award winning performance as The Joker in 'The Dark Knight', but it would have been a less impactful performance without Bale, who played as internal as Ledger was external.  Their scenes together were electric and Bale's emotional performance was intensified by his ability to channel his rage towards The Joker in a way that made him almost as scary as his ultimate antagonist.  I'm sure it didn't hurt that Bale hated wearing his heavy, hot costume, helping him to get into a bad mood.

(the interrogation from 'The Dark Knight')

But beyond his dance with Ledger, Bale made Batman human, and never, ever lost track of Bruce Wayne.  Whether it was being shamed by Rachel Dawes in 'Batman Begins', being heartbroken by her death in 'The Dark Knight' or ending his long time relationship with Alfred in 'The Dark Knight Rises', the viewer is always aware of Bruce Wayne's deep, unending sadness.  Bale does so much with a look and just a few words, that it's easy to overlook it.  He also has a way with Nolan's quick bits of comedy.  Much has been said about how grim all three movie are, but that doesn't take into effect the humor that Nolan puts in each film, perfectly delivered by Bale, often with Michael Caine's Alfred and Morgan Freeman's Lucius Fox, and with his perfect foil, the sublime Anne Hathaway's Selina Kyle in 'The Dark Knight Rises'.

(Anne Hathaway as Selina Kyle in 'The Dark Knight Rises')

It takes a confident, talented and generous actor to consistently let others outshine him in film after film.  Arguably Ledger and Hathaway had career best performances working opposite Bale, who gracefully gave them both room to play large while he kept his character grounded: Never overplaying, always aware of his contribution to the big picture.  Some hate the voice that he uses when he's Batman, but I've always found it to be perfect.  Bale's explanation makes total sense to me: "Batman's meant to be fierce, and you become a beast in that suit, as Batman should be – not a man in a suit, but a different creature."

He is one of the finest actors working today, recently awarded with a Best Supporting Actor Oscar for his role in 'The Fighter' and also rewarded with the main role in one of cinema's great trilogies, offering a depth and consistency of character rarely seen since Al Pacino's trifecta in 'The Godfather' trilogy.  Aside from the three original 'Bourne' films, I can think of no other trilogy that goes out on as high a note as 'The Dark Knight Rises', thanks in no small part to the stellar work of Christian Bale.

Take care of your whole self and have a great week!

Comicon 2012

Last week I made my annual trek down to San Diego to partake in the hurricane that is Comicon. 

Over 100,000 sentient beings made their way to the San Diego Convention Center to imbibe in all things pop culture: Comics, movies, games, toys, and almost anything else entertainment related.   As a selective collector not looking for anything in particular, it was a relaxing visit (as relaxing as anything could be when you're bumping into all kinds of aliens, robots and kids).  Fortunately, the hygene at Comicon has vastly improved, so there was no need for gas masks this year.

(The 3 Stooges never die, they go to Comicon)

Below is a selection of photos that generally speak for themselves.  Captions are added as needed.

(Colin Farrell's getaway car in the upcoming 'Total Recall')

(Aisha Tyler from 'Archer' and 'XIII' meeting fans)

(All in the Family)

(James Bond's boat from 'The World Is Not Enough')

(The Engineer from 'Prometheus' with his assistants?)

(Darwyn Cooke and Scott Dunbier at the IDW booth)

(Two legends: Howard Chaykin & Tony Raiola)

(My good fortune: I ran into the incredibly photogenic Cowan Clan outside the con)

(Michael Davis raising all kinds of hell at The Black Panel)

(Outstanding artist and world class deviant, Frank Cho with his latest calendar)

The highlight of the con for me is the annual dinner that I have with several good friends that I rarely get to see outside of San Diego.  For the third year in a row, we've been at The Palm downtown, where the food, service and atmosphere is top notch.

(The lovely Anna Manning, Assistant Manager at The Palm)

Howard Chaykin used to be the ring leader until he decided to leave the con in his rearview, but we called him from the restaurant, pass the phone around to give (and receive) abuse.  Our get-togethers is consistently one of the year's events that I can count on to be funny, profane and always memorable.

(From left, Michael Polis, Axel Alonso, Frank Cho, David Armstrong, Brandon Peterson, me  and Royd)

That's a wrap til next year. 

Have a great week, I'm getting ready for 'The Dark Knight Rises', Thursday night at midnight!

 

Michael Jackson: Don't Stop Til You Get Enough

Regular readers of this blog know that one of my favorite haunts in Los Angeles is Book Soup on Sunset Blvd in West Hollywood.  I enjoy roaming around casually browsing, seeing what might catch my eye; nine times out of ten, something will snag me.  This visit was no different, but given the timing, perhaps more appropriate than usual.

June 25, 2009, Michael Jackson's life came to its conclusion, but his music has outlived him in a way that might surprise even the King of Pop.  Millions of records have been sold since his death, countless tributes have been paid and he occupies the rarified air of being one of the most important cultural icons of the last hundred years.

And yet, due in part to his eccentricities and troubled later years, Michael Jackson hasn't warranted the same serious critical review of his music that many of his peers have enjoyed.  While it isn't necessary for a critic to give a thumbs up for you to enjoy a song or album, a thoughtful, well informed critic can deepen your appreciation of an artist and his music.  This is where Book Soup comes in.

Browsing through the music section I found the first real critical assessment of Michael Jackson's career 'Man in the Music: The Creative Life and Work of Michael Jackson', by noted Rolling Stone writer, Joseph Vogel.

Thankfully Vogel spends little time on the controversies of Jackson's life, except to help put some of his songs in context.  The author goes through every album and song of Jackson's solo career, including a sizable number of demos and unreleased songs.  He uses a combination of archival MJ interviews as well as recent conversations with Michael's collaborators, and a microscopic musical dissection to provide the reader with a deep dive into the musical world of Katherine Jackson's favorite son.

I've always felt that 'Off the Wall' was one of the greatest albums ever recorded, regardless of how one might classify: is it R&B, Disco, or Pop?  It's all three and more.  Unfortunately it stands in the shadow of the biggest selling album of all time.  But 'Off the Wall's' harmonies, textures and Michael's vocal range floating on a selection of flawlessly written songs hit me just as hard today as they did in the summer of 1979.

(Off the Wall album cover outtake)

'Man in the Music' is a solid step in the right direction of giving Michael Jackson's music the critical analysis and respect that his body of work deserves.  No matter what his limitations may have been, the depth and breadth of Michael Jackson's solo work (not to mention his earlier work with his brothers) is unprecedented in its range and boldness.  A quote from the book says it best:

"Though he aimed bigger and broader than any pop star before or since...he never compromised.  His music is the strangest and darkest ever to achieve blockbuster success; by comparison, Sinatra, Elvis, the Beatles and Madonna are positively milquetoast".

Lyrically, Michael's discomfort with the facts of his life are on full display on 'Thriller', from the angry, frustrated 'Wanna Be Starting Something', to the fearful and distrustful 'Billie Jean' and on and on.  Sunshine does peak through on the overlooked classic, 'Baby Be Mine' and 'Human Nature', but the bulk of 'Thriller' puts a spotlight on a man trapped by his success.  It's a core theme he'd return to over and over for the rest of his career.

Check out this selection of tunes from 'Off the Wall' and 'Thriller'.  It's difficult, but try to listen closely to each song, but with virgin ears.   You might be surprised at how fresh they still sound and how good they still make you feel.

Rock With You

 

Don't Stop 'til You Get Enough

 

Off the Wall

 

Wanna Be Starting Something

 

Baby Be Mine

 

The Lady in My Life (full version)

 

Human Nature

 

 

Take care of your whole self and enjoy the weekend!

TGGG Movie Vault: Devil In A Blue Dress

One of the joys of wrting this blog is an opportunity to introduce movie gems that you may have overlooked and ones that I think readers would enjoy. One of my favorites is 1995's Devil in a Blue Dress, starring Denzel Washington and Don Cheadle, masterfully directed by Carl Franklin.  Here's a look at the trailer.

 

I’ve always enjoyed crime and detective films of the forties.  Bogie in The Big Sleep and The Maltese Falcon, Mitchum in Out of the Past and His Kind of Woman, stand as classics of the genre, just to name a few.  Movie detectives were arguably the first cinematic anti-heroes: wounded knights of honor, living by their own moral code, wearing big shouldered suits and driving great cars.  And of course, we can’t forget the femme fatale’, one of the movies enduring iconic images.

(Jennifer Beals, the Devil in a Blue Dress)

When I read a review of author Walter Mosely’s novel Devil In A Blue Dress, initiating the adventures of Ezekiel “Easy” Rawlins in late 40s Los Angeles, I was intrigued.  I had never heard of a Black private investigator back in the day, so I eagerly snatched up a copy of the novel and devoured it. 

(Washington in the classic 40s detective look)

Rawlins was from Houston and moved to Los Angeles after the war.  A decent man, Rawlins was haunted by his experiences in World War II.  Mosely did a fine job of bringing Rawlins to life on the page, but he excelled with his creation of “Mouse”, Easy’s childhood friend whose  reign of violence is offset by his purity of intent.  Mouse is essentially Easy’s alter ego, saying what Easy is reluctant to say, and doing what Easy does not want to do. 

(cut scene from Devil in a Blue Dress)

I was excited to hear that Devil was being turned into a movie.  I was fine with the casting of Denzel Washington as Easy Rawlins, although I’d always seen Gregory Hines as a perfect fit for the role.  The wild card of the film was how to cast Mouse.  The right actor in that role could steal the movie from Washington straight away.

The perfect actor was certainly cast.  While working on the eventual DVD for Devil In A Blue Dress, I had a chance to see the screen tests of the actors who auditioned for the role of mouse, and without naming names, the winner was hands down the right guy, and Don Cheadle was his name.

(Don Cheadle as 'Mouse', the role that made him a star)

Cheadle had been a working actor for years, but he seized the day in his audition first with director Franklin and then with Washington himself.  Cheadle is funny, scary, self-possessed and in an odd way, angelic.  His take on Mouse would leave you laughing, but with that nervous kind of laughter that occurs when you don’t know what’s going to happen next.  Check out his entrance in Devil in a Blue Dress.

 

Director Carl Franklin, who started his directing career with one of Jean Claude Van Damme’s best films, Nowhere to Run, quickly showed a talent for examining human behavior under challenging conditions in films like the acclaimed One False Move. 

(Washington with director Carl Franklin)

Frankin cut his teeth as an actor and applied what he learned when he turned to directing.  His skill with coaxing memorable performances out of actors is on full display in Devil In A Blue Dress.  There are a number of character actors that populate the film and none are disposable.  Franklin’s literate script and his light touch with the performers helped recreate what Los Angeles might have been like for blacks and whites trying to figure out how to co-exist in the late forties.

(Jenniefer Beals)

Devil creates a black community that has soul, passion and humor.  Watching Easy Rawlins prowl the streets looking for the woman he’s hired to find, we easily come along for the ride, enjoying the lively Central Avenue happenings or soaking in the comfort of Easy’s middle class neighborhood.

(Easy on the prowl)

Devil in a Blue Dress has a burnished glow, giving Los Angeles the classic sheen that shone so regularly in the real 1940s.  The set and costume design both fit the period without ever being overdone or too pristine. 

Franklin was not shy about putting issues of race on the table to be examined and in some cases judged, but he seemed more concerned about the commonality of people, rather than the differences.  Easy Rawlins just wants what’s fair, with as little trouble as possible.  Most people want the same thing, regardless of era, race religion or sex.

(Washington with co-star Tom Sizemore)

Relatively well reviewed, Devil In A Blue Dress was a box office disappointment, killing any chance of a sequel.  Several years ago HBO announced a series based on Mosley’s novels, starring Jeffrey Wright as Easy and Mos Def as Mouse, but nothing came of that.  Now author Mosley and NBC announced that they were developing a series built on the characters.  With the violence, sex and racial issues that abound in Mosley's novels, a television series would find a much better home on cable, rather than network, but it's a long way from development to actual production.

If you haven't seen the film but are interested, I strongly encourage you to get a copy of the DVD, Carl Franklin recorded one of the most thoughtful and interesting audio commentaries I’ve ever been apart of.  But the real treat is the inclusion of the screen test that got Don Cheadle the role that set him on his way.  If you saw the film when it came out, it bears watching again.  It holds up beautifully.

Take care of your whole self and have an outstanding week!

 

 

The Greatest at 70

Today marks the 70th birthday of one of the most influential personalities of the last century.  More than just a fighter, Muhammad Ali means different things to different people around the world.  At one point the most recognized face on the planet, Ali has been bravely dealing with the debilitating effects of Parkinson's Syndrome for more than 20 years.

My admiration for Ali started when I was a child and he was Cassius Clay, and has never abated.  He went through many phases: exciting young upstart, fledgling poet, focal point of a (then) mysterious religion, conscientious objector, national villain, pariah, inspiration, 3 time champion, fervent messenger of Islam, husband, father, honored elder.

While he certainly wasn't flawless (his treatment of Joe Frazier remains one of his deepest regrets), at his best, Muhammad Ali embraced life with honesty, a great sense of fun and a sincere interest in connecting with people, whether they were fans or not.

And of course, Ali had style.  A real jazzy kind of fella.

I met him with my buddy Denys Cowan at a book signing in New York back in the early nineties.  When I got to him with my book, he motioned for me to step back from the table.  I did, then he motioned for me to turn all the way around.  When I did, he had me lean close and said in a soft voice, "if I were a little taller, I'd have to take that suit off you".  He grinned, shook my hand and made my night.  Then as soon as I moved, in walked Joe Frazier and they were off to the races.  Whatever their issues, that night they seemed genuinely glad to see each other and commenced clowning for a good thirty minutes.  I've had a couple of other encounters with Ali, but the New York book signing is how I choose to remember him.  

For two comprehensive overviews of the life and career of 'The Greatest', check out 'Muhammad Ali: The Whole Story', available on a 2 or 6 DVD disc set from Amazon.  In addition to covering the classic fight, the collection has invaluable press conference footage that really gives you a sense of Ali's playful nature.  A great (no pun intended) addition to your DVD collection.

For the reader in you, look no further that Taschen's outstanding 'G.O.A.T.' (Greatest of All Time).

At nearly 800 pages and 75 lbs., GOAT is the last written word on Muhammad Ali.  With pristine photos from every aspect of his life, as well as a variety of essays by a number of notable writers, GOAT is a worthy tribute to a larger than life personality.

Originally priced at $3000, it's fetching six grand and up these days.  However, Taschen put out a more affordable (and physically smaller) version last year, also available at Amazon.  Below are a couple of pages from GOAT.

Ali's fights are well documented, so I thought you'd enjoy seeing and hearing Ali at his talking best.

Ali's Irish TV interview-

 

Michael Parkinson interview 1974

 

Ali & Cosell doc

 

Ali & Frazier in studio brawl w/Howard Cosell

 

Various Quotes

 

Unfortunately, Ali's disease has robbed him of the bulk of his physical abilities, but his spirit and good will continue to shine, while his historic career provides us with his inspiring personal and professional legacy.

Happy Birthday, Champ. Truly the Greatest, now and forever!

ComiCon 2011

I went down to San Diego for ComiCon last week for the annual madness.  When I started attending back in the 90s, it was at the old convention center, and drew about 5,000 people over four days.  This year there were easily over 100,000 enthuisasts out and about.

There's a lot to see and do, depending on your interests.  In the early days, it was a convention for hard core comic book heads.  Now it's generally regarded as the biggest pop culture convention in the world.  This year I wasn't on a mission to collect anything, so I just strolled around, checked out a couple of panels, had my annual dinner with my pals in the industry that I don't get to see very often and ran into some of my favorite comic book creators, like good guy and amazing artist, Cliff Chiang.

My good buddy Greg Anzalone owns Sideshow Collectibles, the market leading movie collectible company.  Sideshow always has a big presence at ComiCon, with one of largest and most impressive display areas at the con.  Over the years Greg has used his innovative approach, strong business skills and creative passion to lead Sideshow to the top of the collectible mountain.  His head creative guy,  Tom Gilliand oversees a crew of painters and sculptors that create lifelike maquettes, statues, busts and action figures.  With Sideshow, it's clearly an art.

Without a doubt, the biggest treat for me was bumping into Jeff Mills.  When I was working at WDRQ in Detroit, we hired a skinny young club dj known as 'The Wizard' for his unbelievably fast hands and creative style of mixing.  Hyper and full of ideas, Jeff was one of the innovators of house and techno music.  He rocketed out of Detroit and never looked back.  Now a world reknowned producer, Jeff is well known for a techno track called 'The Bells'.  He tours all over the world and splits his time between Chicago and Paris with his wife. 

I was walking through the main convention hall, sharing space with probably 15,000 people when I saw Jeff for the first time in almost thirty years.  We had a great reunion and it was certainly a highlight of my ComiCon experience.

And what is ComiCon without costumes?  Here's an assortment.  And no, I didn't wear one. 

And I leave you with a breathtakingly (and kind of creepy) lifelike statue of the best film Superman so far, Christopher Reeve.

 

 

Captain America: In defense of comic book movies

 I see alot of movies.  Several in a week isn't unusual if there are interesting films to check out.  I see 'em all: blockbusters, indies, foreign language, almost anything except torture porn. 

When the summer rolls around, there's usually one film that will cause me to cross my fingers and hope for the best, because my anticipation and expectation can often lead to disappointment.  A few deep breaths of relief: Daniel Craig's first outing as James Bond in 'Casino Royale' and Christian Bale's sterling 'Batman' movies.  This summer heralded the real big screen introduction of one of my favorite comic book characters, Captain America.

2011 has been called the 'Summer of the Superhero', due to the glut of comic book heroes at your neighborhood multiplex.  'Thor' successfully started the season off, followed by the suprisingly satisfying 'X-men: First Class'.  'Green Lantern' missed the mark entirely, triggering warning cries from pundits about the validity and long term life of superhero films, citing 'Lantern' and another green disappointment ('The Green Hornet'), along with the failure of 'The Spirit' and 'Watchmen' as proof that the superhero genre' wasn't long for this world.

What the naysayers failed to mention (or realize) was that none of those films were very good.  In every genre' there are examples of the best in show and the worst.  With the superhero genre' being relatively young, it's not surprising that we hit a fallow period recently. Everything ebbs and flows.

When comic book movies work on a creative and emotional level, it's because of several factors:  a great character, a filmmaker who understands how to translate the work to the screen while keeping the essence of what makes the character memorable, and the right cast.

I've always enjoyed superhero comic books because at the core, the finest ones showcase people trying to be the best that they can be, in the face of adversity, looking out for those less fortunate and never giving up.  Stan Lee summed it up perfectly in the first appearance of Spider-Man in 1962:  'with great power must also come.. great responsibility!'

Andrew Garfield, star of next year's 'The Amazing Spider-Man', made a surprise appearance at this year's ComiCon and his heartfelt speech suggests that taking the role wasn't just for the money.

 

By the way, Garfield wasn't wearing the real Spidey suit.  Here's what it looks like.

The idea that we can aspire to be our greater selves is at the heart of most great superhero comic books.  To be clear, there are always exceptions, with the revenge driven 'Punisher' and the questionable morals of some of the members of the 'Watchmen' only two examples.  But the core heroes strive for a nobility and are often at their most heroic when they fail. 

Rarely has this point been made as effectively in a comic book movie as in 'Captain America: The First Avenger'.  'Cap' is the last piece of the puzzle that will be unveiled when 'The Avengers' open May 4th, 2012 in theaters around the world.  Fighting alongside the First Avenger will be such stalwarts as Thor, Iron Man, The Hulk, Nick Fury and lesser known players Hawkeye and the Black Widow.

But unlike 'Iron Man 2' and 'Thor', 'Captain America' is first and foremost concerned with the title character and is the better for it.  Set in the forties, we're introduced to 90 pound Steve Rogers, a man with the heart of a lion, but the health of a sickly sparrow.  The genius of the film is to spend enough time with Rogers to get a sense of the decency of the man, so by the time he makes his transformation, it's clear to us that the man is still the same, now equipped with the ability to make a difference.  Below is a page from the origin of Captain America from 1941.

This isn't the first time Captain America has been on film, although it's the first version that's not embarrassing to watch.  Below are stills from the 1944 movie serial, the 1977 tv movie and the unreleased 1990 feature film, complete with rubber ears.

Back to the matter at hand.  The new film has a lot going for it.  The action is first rate, the attention to period detail, top notch and Alan Silvestri's patriotic score comes close to the edge of going overboard, but never quite does, resulting in an exciting, complimentary soundtrack.  Director Joe Johnston, knows his way around the forties, as proven in the fan favorite superhero tale 'The Rocketeer'.  He ramps it up with 'Cap', but never lets the action overwhelm the story or the heart of its main character.  Steve Rogers develops a relationship with his 'handler', British agent Peggy Carter, essayed with warmth and steeliness by Hayley Atwell.  Not a typical courtship by any means, but by the time we get to the final scene of the film, I heard audible emphatic sighs over the poignant conclusion.

When I first heard that Chris Evans was the man Marvel wanted to wear the stars and stripes, I immediately began pulling for him.  I've seen Evans in a number of films besides his humorous role as the Human Torch in the 'Fantastic Four' films and knew he could pull it off.  His Steve Rogers has an earnest, humble quality that never seems forced or camp.  He's just a guy who wants to do his part.  Evans gets to the core of the character early in the film and keeps the attribute of virtue at the forefront of everything he does.  If any one person gives 'Captain America' heart, it's undoubtedly Evans.

Last year, about a week after his casting was announced, I met Evans at my vet in Sherman Oaks.  I was waiting for Bailey to come out and Evans rolled in, already in Captain America condition. I congratulated him on nailing the role. He thanked me and told me that I didn't look like a comic book guy.  I wasn't sure how to take that, but I told him I was pulling for him from day one.  He said that he really appreciated it, but he was scared to death that he wouldn't be able to pull it off.  When I said Marvel wouldn't commit over 100 million dollars to the movie if they didn't think he could handle it, he said, 'good point'.  We then had a nice chat about our dogs (he's got an American Bulldog).  He thanked me again for the support and was off.  I knew he was the right choice.

'Cap's off to a great start, garnering good reviews and beating 'Harry Potter' for the top spot on the box office chart.  He'll be leading 'The Avengers' next year, but I'm really looking forward to 'Captain America 2'.  When he returns, he'll be in an updated outfit, which was on display at Marvel's gigantic ComiCon booth.

 

 

 

 

The Next 007? Michael Fassbender

Before getting to today's post, I want to acknowledge that I've finally succumbed to the force of digital nature that is Twitter.  Somewhere on this page (thanks to tech wiz and great friend Doug Textor) there's a button for whatever it is you do as a reader of this blog, for Twitter.  Following, tweeting, I'm still figuring all of that out, but the button's here for your pleasure(?).  Now to the good stuff:

(Mock retro Esquire cover for Total Film magazine)

This is a big summer for super hero movies.  'Thor' got things off to a rousing start, 'Green Lantern' is in a couple of weeks and the one that my fingers are crossed for, 'Captain America: The First Avenger', opens on July 22nd.  But there was one big budgeted entry that I had virtually no interest in, but it wound up being a very satisfying addition to the X-Men canon, possibly the best of the series so far.

'X-Men: First Class' is the fifth in the series of tortured, discrimated against, super powered mutants.  Following the dismal 'X-men: The Last Stand' and disappointing 'X-men Origins: Wolverine', I had no hope for a film set in the sixties focusing on the origin of the relationship between Professor X and his friend turned nemesis, Magneto.  Additionally the film introduced a combination of younger incarnations of previously introduced characters along with brand new ones.  It didn't sound like a recipe for success.  But there's always an unknown ingredient that can change what could have been bland into a tasty treat.

In this case, that spice was director Matthew Vaughn.  Vaughn, who directed last year's 'Kick Ass' as well as the film that gave Daniel Craig his first opportunity to shine in 'Layer Cake', originally turned down 'X-Men: Last Stand', but was regarded highly enough by 20th Century Fox for the studio to approach him again for this latest film, and he delivered one of Marvel's best films yet.

The action and story move at a brisk pace, while the characterizations are all well defined for a film with nearly a dozen important roles.  James McAvoy gives Professor X more charm and playfulness than one would expect after seeing Patrick Stewart's much more mature characterization in previous films.  Kevin Bacon has a ball as arch villain Sebastian Shaw, never overplaying, a carefully modulated performance.  Jennifer Lawrence as Mystique does what she can in a role that isn't as fleshed out as it could have been, but she makes it easy to feel her frustration and conflict as she tries to find her place in a world that is dangerously prejudiced against mutants.

But the real revelation in 'X-men: First Class' is the arrival of Michael Fassbender.  The German born actor has been working steadily for several years now, and is on everyone's hot list.  He's currently starring in Ridley Scott's prequel to 'Alien', 'Prometheus', due out next year.

Fassbender first came to national attention as Lt. Archie Hicox in Quentin Tarantino's 'Inglourious Basterds'.  Fassbender portrayed a combination of British cool with humor and aplumb.  His fifteen minutes in the film are among the movie's best.

Fassbender was most recently seen in the latest version of 'Jane Eyre', released theatrically about a month ago. He's also been in a number of movies that you may have seen playing as part of an ensemble, including '300' and HBO's 'Band of Brothers' mini-series.  He recently starred in an overlooked action film, 'Centurion' as a Roman officer charged with getting the survivors of his squad across enemy lines and back to safety.  Lots of action and a fair amount of computer gore, but it's a solid adventure film and Fassbender carries the film with no problem.

I've been a fan since 'Inglourious Basterds', but still had no real interest in 'X-Men: First Class'.  I didn't expect director Vaughn to take such great advantage of setting the film in the sixties and giving it a real international, espionage feel.  Fassbender's Erik Lehnserr, the future Magneto, is essentially James Bond with mutant powers!  From the slick three piece suit, to speaking four languages, to backing up his threats with cold fury, Fassbender owned the film.  I, like many others, couldn't help but picture him with a license to kill.

 
Now don't get me wrong, I'm all about Daniel Craig.  I've been a fan of his since 'Layer Cake' and think he's the best Bond since Connery by far.  'Casino Royale' is virtually a perfect film to me and I'm in no real hurry to see him leave Her Majesty's Secret Service.  However, he's contracted for two more films, one due November 2012, the fourth probably sometime in 2014, at which point he'll be 46 and Fassbender will be 38, about the age Craig was when he started.  Now Roger Moore stayed until he was 59 and Pierce Brosnan was close to 50 when he bowed out, so one could argue that for Craig to leave at 46 is premature.  But given that he's always been a private guy and an in demand actor, not to mention the physical toll the role takes, I'd be surprised if he elected to carry on past a fourth film.

Fassbender, like Craig, is a physically competent, well regarded actor, whose career would undoubtably thrive if he never took on the 007 mantle, but his performance in 'X-men: First Class' puts him at the front of the list as far as I'm concerned.  Another interesting item, Fassbender is closer to author Ian Fleming's physical idea of Bond than any of the other actors who have portrayed him thus far.  Fleming describes James Bond as being  6 feet tall, slim build, with a three inch long thin vertical scar on his right cheek, blue-grey eyes and short black hair. 

In Fleming's first Bond novel 'Casino Royale', the heroine offers her description, "Bond reminds me rather of Hoagy Carmichael, but there is something cold and ruthless." Likewise, in 'Moonraker',  a female officer offers that the secret agent is "certainly good-looking . . . Rather like Hoagy Carmichael in a way. That black hair falling down over the right eyebrow. Much the same bones. But there was something a bit cruel in the mouth, and the eyes were cold."  Below is a photo of jazz pianist Hoagy Carmichael for your reference.

Fassbender's hair is dark brown and he doesn't have a scar, but measures up in all other areas. In the fifties, Fleming commissioned a cartoonist to draw what the author saw as Bond for an ongoing comic strip.  Below is the illustration and a head shot of Fassbender.

While we've got a few years to go, and hopefully two more great Craig Bond flicks (I won't hold 'Quantum of Solace' against him), I'm happy to know that there's a legitimate contender out there to keep the franchise moving forward.  I'd expect that this post will cause a fair amount of conversation, because everyone has their favorite Bond, and surprisingly, it's not always Connery.  They say that your favorite is the one you grew up with.  If you came up in the seventies, so sorry..